12th June - Private Collection: Visionaries of the 20th …

Lot 1 - NIKI DE SAINT PHALLE (Neuilly-sur-Seine, France, 1930 - San Diego, California, 2002). "Chat vase", 1986. Painted resin. Copy 31/50. Signed, justified and stamped "R. Haligon Plastiques d'Art' on the base. Enclosed certificate signed by the Guy Pieters Gallery. Measurements: 32 x 40 x 22 cm. Sculpture-vase by Niki de Saint Phalle, representing a black cat splashed with spots and drawings in vivid colors. The multicolored tail curls over her belly. She has one red ear and one yellow ear. As usual in the work of the French artist, the resin is painted in cheerful colors that open the doors of fantasy and lead us into a reinvented bestiary. With this type of figures, as with her sensual curvaceous women, Saint Phalle immerses us in a nature governed by its own laws. Genuinely feminine laws, powerful, warlike and loving at the same time. Likewise, feline attributes, especially those linked to magic, are reread, adding to the optimism that has always prevailed in her proposals. In "jardin des tarots" in Tuscany, De Saint Phalle created monumental versions of cats and other guardian animals and protective spirits. Niki de Saint Phalle was one of the most renowned artists of the mid-twentieth century. She participated around 1962 in the exhibition "The Art of Assemblage" at the Museum of Modern Art in New York. In 1964 she began to create a series of works entitled "Nanas", which consisted of female figures with voluptuous forms and vivid colors. These sculptures show a contrast between the playful or festive dimension of the object and a much more tragic, violent and pornographic one. These images contrast with the conventional canon of feminine beauty. In the early 1960s, the artist created the Shooting 'Paintings. These works were polyethylene bags filled with paint in the shape of a human figure covered in white chalk. The image was created after shooting the figure out of bags of paint. It was in 1966 when he made the largest sculpture of a woman's body in the history of art, which was also part of the series "Nanas" and whose title was "Hon" ("She" in Swedish). A Nana that ceases to be sculpture and becomes architecture. It was installed in the Moderna Musset in Stockholm, under secrecy because it was a rather revolutionary act considering the time in which he made it, so a few days after opening it to the public, they closed the exhibition. In 1979 he began to build a sculpture park, "El jardín del tarot" in Spanish, located near Capalbio, Italy. In 1982, together with her husband Jean Tinguely, she built the "Fontaine Stravinsky" or Fountain of the Automatons, located next to the Pompidou Center in Paris. Many of Saint Phalle's sculptures have large dimensions and are exhibited in public spaces. The Niki Charitable Art Foundation maintains an online map and catalog of all its existing public artworks. Le Paradis Fantastique (The Fantastic Paradise, 1967), Moderna Museet, Stockholm, Switzerland (in collaboration with Tinguely). Golem (1971), Kiryat Hayovel, Jerusalem. Hannover Nanas (1973), together with Leibnizufer in Hannover, Germany. La Fontaine Stravinsky (Stravinsky Fountain or Fontaine des automates, 1982) near the Pompidou Center, Paris (in collaboration with Tinguely) Sun God (1983), a fantastic winged creature next to the University of California, San Diego Faculty Club as part of the Stuart Collection of public art.

Estim. 50 000 - 60 000 EUR

Lot 2 - KAREL APPEL (Netherlands, 1921 - Switzerland, 2006). Untitled, 1966. Acrylic and oil stick on paper. Signed and dated in the lower right corner. Framed with museum glass. Enclosed certificate signed by Guy Pieters and Mr. Nieuwenhuizen-Segaar. Measurements: 49 x 65,5 cm; 64,5 x 80 cm (frame). This work stands out for the violence of the gesture and the color, for the material pastiness and the most genuine primivist claim. We see a strange creature with three reptilian faces that look at us with eyes whose terrifying aspect is belied by the use of a deliberately naïff expressionist language. It is precisely these elements (primitivism, childish and naïve art, rejection of the civilizing reason that had led to war...) that vindicated this post-war artist, co-founder of the CoBrA group. Appel's language, which flirted with abstraction but was essentially figurative, was based on the combination of expressionist aggressiveness and childlike simplicity linked to surrealism. Karel Appel was a painter, sculptor and graphic artist, and is currently considered the most vigorous artist of the post-war generation in his country. In 1948 he founded, together with Corneille, Jorn and Alechinsku, the CoBrA International Group, which was decisive in the development and expansion of European automatism between the 1940s and 1950s. During the Nazi occupation of Holland, Apple wandered around the country to avoid being sent to work in Germany. In 1946 he had his first solo exhibition in Groningen, in which the imprint of Dubuffet, with whom he would come to share certain theoretical concepts, was already visible. His first sculptures, pioneering in the assembly of waste materials, date from 1947. Some artists, rejecting the rigor and sectarianism of the surrealist organization, founded the CoBrA group (abbreviations for Copenhagen, Brussels and Amsterdam, cities from which Appel, Corneille and Constant, who signed the inaugural manifesto together with Jorn, Noiret and Dotremont, came from). The CoBrA painters pursued a more spontaneous work, catering to local cultural traditions and collecting fantastic imagery. The group soon disbanded in 1951, but some of its members, notably Appel, Jorn and Alechinsky, maintained its spirit in the following decades. Their painting is characterized by a great expressionist charge linked to the figures of Max Pechstein and Edward Munich, two of the great Nordic expressionists. His work is made with dense impasto and violent color games, which denote the agitated character of Nordic expressionism. Later, his language evolved in a softer line, approaching Hand Edge Painting. Appel was a tireless artist who explored multiple languages, from sculpture, ceramics, mural painting, stained glass or engraving. During his long artistic career he received numerous awards and collaborated with artists from other disciplines such as the poet Allen Ginsberg or the choreographer Min Tanaka. His first successes came in 1953, with the exhibition at the Palais des Beaux Arts in Brussels and his participation in the Biennial of Sao Paulo (he would return in 1959 and win the international prize for painting), and in 1954, when he received the UNESCO prize at the Venice Biennale and exhibited in Paris and New York. Appel is represented at the Guggenheim Museum and MoMA in New York, the Bilbao Fine Arts Museum, the Tate Gallery in London, the Albertina in Vienna, the Thyssen-Bornemisza, the Peggy Guggenheim Collection in Venice and the Fine Arts Museum in Dordrecht, among many others.

Estim. 45 000 - 55 000 EUR

Lot 3 - DENMARK (Belgium, 1950). "Art in America, 1990. Mixed media (newsprint and magazine paper and wire) on panel. Signed in the lower margin. Signed and dated on the back. Attached certificate of authenticity signed by the artist. Measurements: 29 x 42 cm; 41 x 54 x 4 cm (frame). The artist himself explains: "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many exams and old papers gather dust in the attics of schools? For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for essence. Currently his work has been presented in a wide range of exhibitions in national and international galleries and museums.

Estim. 10 000 - 12 000 EUR

Lot 4 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "Three Indeterminate Lines", 2009. Mixed media on paper. Signed, dated and titled at lower right. Measurements: 137.5 x 110.5 cm; 153 x 125 cm (frame). It was in the mid-seventies that Bernar Venet began to place the line at the center of his conceptual research. While in a scientific context a line is a clearly defined geometric form, Bernar Venet used this simple geometric form to demonstrate divergent concepts. His sculptures, drawings and paintings explore the line as a carrier of divergent potentialities: order and disorder, the determinate and the indeterminate? By moving, the line becomes a three-dimensional and unstable figure, and forces the viewer to follow its course in search of the beginning and the end. Behind the chaotic appearance of the forms that Venet conceives, rigorous mathematical studies are hidden. "Three Indeterminate Lines" also exists in a sculptural version. Conceptual artist Bernar Venet is best known for his precise and mathematically rigorous sculptures, often made of steel. Painting, collage and charcoal are also his means of expression. Within his artistic practice, he has also carried out continuous experiments with other industrial materials, such as coal and asphalt. In the 1960s, Venet was influenced by the work of Arman and the New Realists working in Paris, and began making cardboard sculptures. A visit to New York in 1966 brought him closer to Minimalism, and he subsequently shared a studio with Arman in midtown Manhattan and interacted with artists such as Donald Judd and Sol LeWitt. In the decades that followed, the artist honed his signature style and his work came to reflect his ongoing formal artistic investigations. In 2005 he was decorated Knight of the Legion of Honor, and in 2014 he inaugurated the Venet Foundation, a museum and archive of his work. This year 2023 marks the 60th anniversary of Venet's seminal work Tas de charbon (1963), made of charcoal, which heralded the beginning of his meticulous research practice. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Piguet, Guy Boyer and Catherine Francblin. The Coal Pile

Estim. 70 000 - 90 000 EUR

Lot 5 - JAN FABRE (Antwerp, Belgium, 1958). "De blikopener", 2017. Sculpture in silicon bronze. Exemplary 8/35. Signed and numbered. With stamp of Art Casting Belgium. Attached certificate signed by the artist. Measurements: 108 x 45 x 30 cm; 178 cm (height with base). This sculpture belongs to a series of pieces in bronze of polished and shiny finish of realistic workmanship, in which the portrayed figures, who often assume the features of the artist himself (as in this case), hold utensils that function as metaphorical attributes of the artist's role. The figure wears a suit jacket and in his right hand holds a can opener. The object seems to suggest the role of the artist as the one whose mission is to pierce reality, to "open eyes," to perforate the world and break with preconceptions. "De Blikopener" was exhibited at the Palazzo Merulana in Rome, in the show "Jan Fabre. The rhythm of the brain", curated by Achille Bonita Oliva and Melania Rossi. Jan Fabre is a playwright, stage director, choreographer and visual artist. He studied at the Municipal Institute of Decorative Arts in Antwerp and at the Royal Academy of Fine Arts. Between 1976 and 1980 he wrote his first texts for the theater. In 1978 he made drawings with his own blood during the solo performance My Body, My Blood, My Landscape. In 1980 he made the "Bic-Art Room", as an opposition to "Big Art"; he locked himself for three days and three nights in a white cube filled with objects, drawing with blue Bic pens. In 1986 he founded Troubleyn/Jan Fabre, a theater company with extensive international projection. He has been a member of the Royal Flemish Academy of Sciences and Arts of Belgium since 1998 and is a Commander of the Order of Leopold II. In 2008, The Angel of Metamorphosis was exhibited at the Louvre Museum, an exhibition inaugurated by Queen Paola of Belgium. He decorated the ceiling of the Hall of Mirrors of the Royal Palace in Brussels, which he called Heaven of Delights, made of 1600,000 beetle-beetle elytra, which has been widely praised. He also made Totem, a sculpture of a giant insect pierced by a huge twenty-three-meter steel spire, at the Ladeuzeplein in Leuven. The sculpture was erected in 2005 to commemorate the 575th anniversary of the historic Leuven University Library.

Estim. 100 000 - 120 000 EUR

Lot 6 - KEITH HARING (Pennsylvania, 1958- New York, 1990). "Dance," April 24, 1988. Ink on paper. Unique piece. Signed and dated on the back. Measurements: 77 x 111 cm; 95 x 130 cm (frame). In 1988, Keith Haring was at the height of his fame, a year in which his schematic figures grouped in dancing families, sometimes forming towers of organic appearance (in the "Growing" series the bodies are interconnected like vegetal forms) or with the figures aligned horizontally, waving arms and legs, clasped by the shoulders, as in this important original drawing, "Dance". Haring frequented the downtown Manhattan club scene. The dancing figures drink from these contemporary urban environments, and at the same time pick up on the hedonistic and animistic tradition of the fusion of dancing bodies with nature. We refer to archaic rituals and the Dionysian dances of maenads and satyrs. But Haring must also have had in mind Matisse and his chorus of naked dancers, celebrating the return to a mythical golden age. In fact, Haring also somehow harks back to some kind of primitive purity, choosing a synthetic, pre-classical stroke with which he sweeps away a false idea of progress. With this combination of influences and precedents, the artist came up with a style of his own that would make him immortal. His cheerful figures with simple strokes revolutionized the art world. Considered the figurehead of urban art in the 1980s, Haring's unstoppable career, which led him to become a Warhol colleague and media superstar, began with his work in the New York subway. The enormous popularity of Haring's urban work among the people of New York immediately caught the attention of the art establishment. Consequently, Andy Warhol adopted him into his circle, and the then emerging gallerist Tony Shafrazi organized a resounding solo exhibition for him in 1982 that was to be the launching pad for his unstoppable success. He soon exhibited his work at the gallery of the influential Leo Castelli and established himself as a professional art star. Keith Haring was an American artist whose pop art and graffiti emerged from the street culture of New York City in the 1980s. Haring's work grew in popularity thanks to his spontaneous drawings on the New York City subway in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals.His later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is divided between major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New Yorkand the second-floor men's room at Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and is known as the Keith Haring Room. In January 2019, an exhibition called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus.

Estim. 500 000 - 550 000 EUR

Lot 7 - "Ben", BEN VAUTIER (Naples, 1935). "J'ose le rose", 2011. Acrylic on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Attached certificate signed by the artist. Measurements: 100 x 81 cm. Although Ben Vautier's work has taken different forms and ways of expression (performance, sculpture, painting...), it has been the text messages written with a characteristic calligraphy that have had the greatest resonance. They are text-based paintings that directly appeal to the viewer with forceful and provocative phrases such as "Death does not exist". "Jose le rose" written on a bright pink background could include, among other lectural levels, a nod to Duchamp and his pseudonym "Rose Sélavy", itself a play on words with "C'est la vie". Considered one of the pioneers of conceptual art, he has been, in addition to being a visual artist, an agitator and art critic, interested in social vindication and multiculturalism. For him all art must mean a shock, produce an intense emotion or reaction. Born Benjamin Vautier in Naples, he moved with his mother to the south of France in 1949. In 1958, Vautier left his job in a bookstore and opened a stationery and record store. He ran Laboratory 32 (Le Magasin), from 1958 to 1973, creating a salon-like gathering place for people to discuss new ideas. During this time, Vautier met Yves Klein, John Cage and George Macunias, and became involved in the early stages of the Fluxus art movement. In the 1960s he would travel to New York where he would participate in the actions of the Fluxus group. His work would also be impregnated with conceptualism and minimalism, essential in his conception of art, which for him is not a purpose, but a vehicle, a form of communication. Vautier's Fluxus works revolved around defining art as a practice that unifies life, objects and philosophy. "What is culture? Culture is a fairy tale we have created. It can be manipulative," he explained. "The purpose of culture is to amuse both the poor and the rich." The artist continued to produce works about everyday life over the following decades, while working as an advocate for minority rights in France. He continues to live and work in Nice, France. Today, Vautier's works are in the collections of the Museum of Modern Art in New York, the Walker Art Center in Minneapolis, the George Pompidou Centre in Paris and the National Gallery of Victoria in Melbourne, among others.

Estim. 20 000 - 25 000 EUR

Lot 8 - WIM DELVOYE (Belgium, 1965). "Trophy," 2011. Black lacquered gilt bronze. Exemplar 2/3. Signed and justified on the base. Attached certificate signed by the artist. Measurements: 50 x 108 x 32 cm. Wim Delvoye's close relationship with animals is not only demonstrated by the bidding work showing two deer copulating, but already in 1994 the Belgian artist tattooed seven pigs that he himself had raised near Beijing (it is worth mentioning that this action sparked a fundamental debate on the treatment of animals and the ethical limits in contemporary art. In particular, it provoked an outcry from animal activists). Other copies of "Trophy" (in other materials and measurements) have been exhibited in museums and institutions around the world, such as at MUDAM in Luxembourg or in the exhibition "Wim Delvoye au Louvre" at the French art gallery. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye participates in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 60 000 - 70 000 EUR

Lot 9 - PETER HALLEY (New York, 1953). "Orange prison," 2013. Acrylic, Day-Glo acrylic and Roll-a-Tex on canvas. Attached certificate signed by the artist. Signed and dated on the back. Measurements: 91,4 x 91,4 cm. With "Orange prison", Peter Halley continues his research on the duality between geometry and prison. This has been his life project, his great contribution to the history of contemporary art: the masterful conceptual and formal twist he gave to geometric abstraction. In the eighties, Halley began to revise geometric abstract art (the minimalist tradition of Donald Judd and Frank Stella). In his series of Piped Cells he introduced the idea of conductors connecting prison cells, as metaphors for the institutional regulation of life. They were abstract representations of the post-industrial landscape and brought out the invisible geometry that underlies the social world. Halley draws inspiration from artists such as Piet Mondrian, Josef Albers and Donald Judd, but his concerns are decidedly contemporary: his diagrams evoke the alienation of prisons, city life and technology. He employs textured industrial paint (Roll-a-Tex) and Day-Glo acrylic (already used by Pop artists), which helps to evoke artificial lighting. Halley applies his fluorescent tones with a roller rather than a brush to leave no trace of the artist's hand. Halley's works have fetched up to six-figure prices at auction and are in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Tate and the Pompidou Center. Peter Halley is one of the most influential artists on the international scene. He became known for his geometric painting, done in intense day-glo colors, in the early 1980s. His pictorial activity is often associated with minimalism, neo-geo and neo-conceptualism. Halley is also known as a writer, editor and teacher. He received his BA from Yale University and his MFA from the University of New Orleans in 1978. Halley first exhibited in 1985 at International with Monument, a gallery in the East Village, NY, which he founded in 1984 with Jeff Koons, Ashley Bickerton and Meyer Vaisman. Since then he has had exhibitions at Mary Boone Gallery, Sonnabend Gallery, Galerie Bruno Bischofberger, Jablonka Galerie, Galerie Thaddeus Ropac and Waddington Galleries. His first major exhibition of his work took place at the CAPC museum in Bordeaux in 1992. Halley is also a noted lecturer, having lectured at the Art Institute of Chicago and the American Academy in Rome. He is also co-founder and editor of Index Magazine. His treatises on art, influenced by French post-structuralism, have been published in two volumes. Since 2001 he has been the director of the painting and printmaking studios at the Yale School of Art. His works can be found, among others, at MoMA, the Guggenheim in NY, the San Francisco Museum of Modern Art and the Tate Gallery.

Estim. 60 000 - 70 000 EUR

Lot 10 - SAM FRANCIS (San Mateo, California, 1923 - Santa Monica, California 1994). Untitled, 1974. Acrylic on paper. Signed and dated on the back. Enclosed is a certificate issued by the Samuel Vanhoegaerden Gallery stating that the piece is registered with the Sam Francis Foundation. Measurements: 46 x 46 cm; 59 x 59 cm (frame). In the early seventies, the Californian painter Sam Francis devoted himself to the study of Jung's psychoanalysis, and transformed his own dreams into pictorial material. The work in question is situated in this line of creating unconscious images, which combined bands of paint applied by roller with drips and splashes of ignited pigment. Some critics called them "fresh air images", and they were formed by an underlying matrix that he tapestry of overlapping imprints and drippings. St. Francis was interested in leaving room for chance and the automatism of gesture to express the pulse of the soul. San Francis studied botany, medicine and psychology at UC Berkeley in California from 1941 to 1943, and served in the United States Air Force during World War II from 1943 to 1945 before being injured in a plane crash. He spent several years in the hospital, and it was during this time that he began painting, at the urging of his friend David Parks, a professor at the San Francisco School of Fine Arts. Once out of the hospital he returned to Berkeley, this time to study art. His studies in painting and art history took him from 1948 to 1950. Francis' early work is directly influenced by the Abstract Expressionists such as Rothko, Gorky and Still. During the 1950s he resided in Paris, where he held his first solo exhibition in 1952 at the Nida Dausset Gallery. During the fifties and sixties he made important personal exhibitions and participated in group exhibitions at the Ribe Droite Gallery (Paris, 1955), Martha Jackson (New York, 1956), Gimpel Fils (London, 1957), the exhibition "New American Painting", which toured eight European cities (1958), the Documenta in Kassel (1959 and 1964) and the Kunsthalle in Bern and Dusseldorf. In 1963 he settled in Santa Monica, California, and six years later he was named Doctor Honoris Causa by the University of Berkeley. It was during this period, between 1960 and 1963, that he created several series of works, including the "Blue Balls" series. Consisting of predominantly biomorphic blue shapes and drops, these works referenced the pain that resulted from the kidney tuberculosis he suffered in 1961. He continued to paint, primarily in Los Angeles, but also in Tokyo, where he lived primarily in 1973-4. In 1965 Francis began a series of paintings that featured large areas of open canvas, minimal color and strong lines. His work evolved further after he began an intense Jungian analysis with Dr. James Kirsch in 1971. After 1980, the formal grid structure gradually disappeared from Francis' work. He was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at Francis' own Litho Shop.In 1984 Francis founded The Lapis Press with the goal of producing unusual and timely texts in visually appealing formats.

Estim. 45 000 - 55 000 EUR

Lot 11 - DAVID HOCKNEY (United Kingdom, 1937). "My window". Giclée on paper. Issue 217/250. In 2010, David Hockney unveiled a captivating iPad creation titled 'untitled No. 281, July 23, 2010'. 2019 edition. Measurements: 56 x 43 cm. Innovative to the end, renowned British artist David Hockney embraced the iPad as a new artistic medium in recent decades. In them, the window occupies a vertebral place, whether it appears physically as in this case or when, even if it does not appear, he paints the landscape looking out of the window of his house in Normandy, France. He even titled a publication that collected his drawings with an iPad "The Window". Hockney took advantage of the iPad's capabilities to create works with a characteristic vividness. He employed thick lines and saturated colors, reminiscent of his earlier paintings. Initially, Hockney used the iPad to draw and explore colors. He then transferred these digital works to large canvases, taking the iPad creations to a new dimension. The iPad provided Hockney with a convenient and portable tool for artistic expression. This freedom allowed for experimentation and a more spontaneous approach. These are drawings that celebrate the joy of living with a contemporary language. Hockney's iPad drawings not only demonstrate his adaptability as an artist, but also highlight the vast creative potential of the digital medium. A multidisciplinary British artist, David Hockney was a key figure in British pop art in the 1960s, and is now considered one of the most influential British pop artists of the 20th century. He made his solo debut in 1963, and only seven years later, in 1970, the Whitechapel Gallery in London dedicated his first major retrospective exhibition to him. More recently, important exhibitions have been dedicated to him, such as the portrait exhibition held at the National Portrait Gallery in London in 2006. His work has been shown all over the world, and he is currently represented in the Royal Collection, the Royal Academy, the Victoria & Albert and the British Museum in London, the Museo Reina Sofia in Madrid, the SMAK in Ghent, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other collections.

Estim. 15 000 - 20 000 EUR

Lot 12 - ANDY WARHOL (Pittsburgh, USA,1928-New York, USA,1987). "Robert Mapplethorpe," 1983. Silkscreen on board of the Lenox Museum. Unique piece. VF initialed (Vincent Fremont), stamped Andy Warhol Foundation for the Visual Arts, numbered UP41.77 and stamped Estate of Andy Warhol. With label of the Jablonka Maruani Mercier Gallery. Attached certificate from the Maruani Gallery. Provenance: Andy Warhol Foundation for the Visual Arts, New York Ikon/Kay Richards Gallery, Santa Monica. Bibliography: Frayda Feldman and Jorg Schellmann, Andy Warhol Prints, A Catalog Raisonné 1962-1987, München-NY 1997, p.225, no. IIIA.26, two other examples illustrated in color. Measurements: 102 x 102 cm; 130.5 x 128 cm (frame). Unlike other celebrity silkscreen prints by Warhol, the portrait of photographer Robert Mapplethorpe responds to a close bond between the two artists, who shared environments and interests. To some extent, the iconic Pop Art figure influenced the young photographer. They met in the early seventies, and Mapplethorpe would also portray Warhol and the personalities that circulated around The Factory: artists, composers and models linked to the New York underground. Also, unlike the color-saturated serigraphs, Warhol opts here for shades of gray, as a nod to the black and white of Mapplethorpe's erotic photographs. This is a unique piece, not conceived with the idea of mechanical seriality, like other screen-printed pieces by the artist. Remembered mainly for his controversial images, Mapplethorpe transcended the limits of photography both in his choice of subject matter and technique. His photographs of the 1970s and 1980s of male nudes and sexually explicit images brought him notoriety. Mapplethorpe was influenced by Warhol early in his career, and his move to Manhattan in 1969 was a further step in befriending Warhol and possibly even emulating his lifestyle. Even as Mapplethorpe became famous in the New York art scene in his own right, he still regarded Warhol as one of the most important living artists. Both artists shared a keen interest in portraiture, and while Warhol produced documents of celebrity and glamour, Mapplethorpe focused on the aesthetics of the body. They also shared a similar approach to creating artwork, with both artists being the creative force behind the camera and studio staff working on the production of the artwork. The friendship between the two developed a genuine intimacy and resulted in the production of reciprocal artworks and in 1983; Mapplethorpe created four portraits of Andy Warhol (an example of which is in the collection of the Tate Modern in London) and Warhol created a series of silkscreen prints of the photographer, which Mapplethorpe considered the ultimate symbol of his own success. The present work is part of this narrative that brings together the two pioneering American icons. Andy Warhol was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered at the time a guru of modernity, Warhol was one of the most influential artists of the 20th century. The son of Slovakian immigrants, he began his art studies at the Carnegie Institute of Technology between 1945 and 1949. In the latter year, already established in New York, he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases whose subject matter was based on some element or image from the everyday environment, advertising or comics. Soon he began to exhibit in various galleries. He progressively eliminated from his works any expressionist trait until he reduced the work to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its maximum level of depersonalization in 1962, when he began to use a mechanical silkscreen printing process as a working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor or Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. This appropriationism, a constant in the works of the proponents of pop art, extended to works of art of a universal nature. By means of mass reproduction, he managed to strip the media fetishes he used of their usual referents and turn them into stereotyped icons with a merely decorative purpose. In 1963 he created the Factory, a workshop in which numerous figures from New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life eventually established a coherent line between his work and his life's trajectory. He is currently represented in the most important contemporary art museums in the world, such as the MoMA, the Met

Estim. 200 000 - 240 000 EUR

Lot 13 - TOM WESSELMANN (Ohio, 1931-New York, 2004). "Still Life with Flowers," 1988. Liquitex on paper. Signed and dated lower right. Attached is a certificate from the Wesselmann Estate signed by Claire Wesselmann stating that it is in the archives. With stamp on the back of the Laurent Strou. of Paris. The protective methacrylate has some scratches. Measurements: 119 x 140 cm; 133 x 154 cm (frame). Just as his nudes became pop-art icons of the sixties, in his still lifes of flowers (which he produced mainly in the eighties) Tom Wesselmann revisits the history of art in a very particular way. The nods to Matisse and Fauve art are evident, while radicalizing the legacy of pop-art. He uses primary colors to break down the flowers to their most essential forms. The use of a lighthearted and naïff style in the classic genre of still life introduces biased comments on decorativism and art. Tom Wesselmann was an American pop-art painter. He was one of the last great American pop-art masters, most popular for his bold and striking female nudes. He enrolled for a degree in psychology in 1951, but the following year he was drafted for the Korean War. However, he was eventually stationed at Fort Riley, Kansas. He created comic strips about military life, and later diversified his subjects.2 He left the Army (1954), resumed a career in psychology, and graduated in 1956. It was then that he moved to New York to devote himself to comics. He studied at the Cooper Union School of Art and Architecture until 1959. His first attempts as a painter, under the influence of Willem de Kooning, moved in the abstract expressionism then in vogue. In 1959 he produced his first abstract collages, but soon became interested in the figuration of Matisse, Van Gogh and Modigliani, and the following year he painted his first figurative works, including landscapes. His first solo show, at the Tanager Gallery in New York, took place in 1961. That same year he began his extensive cycle of Great American Nudes. The first were collages in small format, but the later ones were made in oil (Latin oleum oil) and with acrylic colors in large formats. In some of them he incorporated real objects. A canvas from this series, Nude No. 1, 1970, hangs in the Thyssen-Bornemisza Museum in Madrid. Later, he produced series on smokers, as well as huge still lifes with elements of everyday life, such as household appliances, bottles, ice cream. He experimented with sculpture, using cut-out plates. His graphic production is extensive and covers several techniques (lithography, serigraphy, aquatint). An important anthology was dedicated to him in Japan in 1993-94. In 1980 he wrote an autobiography under the pseudonym Slim Stealingworth.

Estim. 240 000 - 260 000 EUR

Lot 14 - ROBERT RAUSCHENBERG (Texas, USA, 1925 - Florida, USA, 2008). "Goat House (Passes)," 1988. Acrylic and silkscreen ink on handmade paper. Signed at bottom center. Attached certificate issued by Guy Pieters Gallery stating that it is registered with the Robert Rauschenberg Foundation. With labels on the back: - "New York on paper" exhibition, June-October 1993, Galerie Beyeler Basel. - Exhibition "Poetry in Motion", June-September 2007, Galerie Beyeler Basel. - M. Knoedler & Co. Measurements: 55 x 77 cm; 63.5 x 85 x 4 cm (frame). The 1980s marked a period of transformation and experimentation in Robert Rauschenberg's prolific career. After an established career in Neo-Dadaism and Pop Art, the artist embarked on an exploration of new languages, defying expectations with combinations of techniques that integrated painting, printmaking, photography and collage. The result gave the impression of a visual and conceptual palimpsest that in works such as "Goat House" shocks our subconscious and spurs our associative capacity. In these works, Rauschenberg experimented with photographic transfers, incorporating images from everyday reality and the press into his works, questioning the relationship between the real and the imagined. The trellis of the house and the face of an African man challenge us and awaken our critical sense, but the artist plays with metaphor and enigma without trying to communicate a closed idea. Likewise, the allusion to the "goat" in the title could be a nod to his most emblematic work of the fifties, "Monogram", with which he inaugurated his shocking combinatory games. Painter, sculptor and graphic artist, pioneer of pop art in his early works, Robert Rauschenberg worked in all types of media, including photography, engraving and performance. He received outstanding awards such as the National Medal of Art of the United States in 1993, as well as the Leonardo da Vinci World Award of Arts in 1995. He began his career in Pharmacy and joined the Army, but finally decided to devote himself to art, developing his training at the Kansas City Art Institute and the Académie Julian in Paris. Finally he will extend his studies in the Black Mountian College of North Carolina, where he had as a teacher Josef Albers, one of the founders of the Bauhaus. Between 1949 and 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League in New York, where he met Knox Martin and Cy Twombly. Throughout his career, Rauschenberg's work underwent remarkable changes due to various influences, including Marcel Duchamp. He exhibited his work in leading galleries in the United States and Europe, beginning with his first solo exhibition in 1951. In early 1963 he had his first retrospective exhibition at the Jewish Museum in New York, and the following year he became the first American artist to win the Grand Prize at the Venice Biennale. More recently, he has had retrospectives at prominent venues such as the Solomon R. Guggenheim Museum in New York, and has also held exhibitions at MoMA in New York, the Tinguely Museum in Basel, and others. He is currently represented at the Guggenheim Museums in New York, Berlin and Bilbao, the Art Institute of Chicago, the Metropolitan and MoMA in New York, the Tate Gallery in London and other important collections around the world.

Estim. 100 000 - 120 000 EUR

Lot 15 - MIMMO ROTELLA (Catanzaro, Italy, 1918 - Milan, 2006). "Super Batman", 2003. Décollage adhered to canvas. Unique piece. Signed in the lower right corner. Dated and titled on the back. With label of the Mimmo Rotella Foundation. The Centre Pompidou keeps another décollage of this same film. Attached certificate signed by Guy Pieters, from the Pieters Gallery. It has damage in the lower margin. Measurements: 182 x 130 cm; 186 x 134 cm (frame). In "Batman" Mimmo Rotella demonstrates once again his tireless facet as a creator and his involvement in experimentation with the new artistic languages of the second half of the twentieth century. The Italian, who once began as a painter of geometric abstractions, demonstrates in this "décollage" his artistic progress and his constant contact with the world around him. He uses advertising posters and old movie posters which, once torn from the walls, he sticks to the canvas to create semi-abstract compositions. The poster chosen for the bidding décollage is from the film "Batman", a William Dozier production starring Adam West (playing Batman) and Burt Ward (in the role of his sidekick Robin). A multidisciplinary artist, Mimmo Rotella worked with techniques as diverse as painting, ceramics, tapestry, drawing, graphics and photography. He studied at the Academy of Fine Arts in Rome, and after the end of the war, in 1945, he went to Rome, where he came into contact with the avant-garde. Later he moved to Paris and the United States, and on his return to Rome he turned to the expressive possibilities of the advertising poster, creating a new technique called décollage. In Paris he participated in the experience of the Noveau Rèalisme and his interest in the poetics of mechanical processes was also expressed with the creation of Mec-art, or processes of serial transcription of the image. He is currently represented in museums such as the Guggenheim in New York and the Centre Georges Pompidou in Paris, among many others.

Estim. 140 000 - 160 000 EUR

Lot 16 - KAREL APPEL (Netherlands, 1921 - Switzerland, 2006). Untitled, 1975. Acrylic on cardboard adhered to canvas. Signed in the lower right corner. Enclosed certificate signed by Guy Pieters and Mr. Nieuwenhuizen-Segaar. Measurements: 57 x 75,5 cm; 84 x 102 cm (frame). Karel Appel's work was noted for its chromatic violence and material pastiness. He often made pseudo-human or mythological creatures like the one we are dealing with, which can be read as phobic allegories. Primitivism and infantile or naïff art are reinvindicated by the artist and his group CoBrA (formed in the fifties) to reject the civilizing reason that had led Europe to devastation. Appel's language was based on the conjugation of expressionist aggressiveness and childlike simplicity linked to surrealism. He always remained within the limits of figuration. Karel Appel was a painter, sculptor and graphic artist, and is currently considered the most vigorous artist of the post-war generation in his country. In 1948 he founded, together with Corneille, Jorn and Alechinsku, the CoBrA International Group, which was decisive in the development and expansion of European automatism between the 1940s and 1950s. During the Nazi occupation of Holland, Apple wandered around the country to avoid being sent to work in Germany. In 1946 he had his first solo exhibition in Groningen, in which the imprint of Dubuffet, with whom he would come to share certain theoretical concepts, was already visible. His first sculptures, pioneering in the assembly of waste materials, date from 1947. Some artists, rejecting the rigor and sectarianism of the surrealist organization, founded the CoBrA group (abbreviations for Copenhagen, Brussels and Amsterdam, cities from which Appel, Corneille and Constant, who signed the inaugural manifesto together with Jorn, Noiret and Dotremont, came from). The CoBrA painters pursued a more spontaneous work, catering to local cultural traditions and collecting fantastic imagery. The group soon disbanded in 1951, but some of its members, notably Appel, Jorn and Alechinsky, maintained its spirit in the following decades. Their painting is characterized by a great expressionist charge linked to the figures of Max Pechstein and Edward Munich, two of the great Nordic expressionists. His work is made with dense impasto and violent color games, which denote the agitated character of Nordic expressionism. Later, his language evolved in a softer line, approaching Hand Edge Painting. Appel was a tireless artist who explored multiple languages, from sculpture, ceramics, mural painting, stained glass or engraving. During his long artistic career he received numerous awards and collaborated with artists from other disciplines such as the poet Allen Ginsberg or the choreographer Min Tanaka. His first successes came in 1953, with the exhibition at the Palais des Beaux Arts in Brussels and his participation in the Biennial of Sao Paulo (he would return in 1959 and win the international prize for painting), and in 1954, when he received the UNESCO prize at the Venice Biennale and exhibited in Paris and New York. Appel is represented at the Guggenheim Museum and MoMA in New York, the Bilbao Fine Arts Museum, the Tate Gallery in London, the Albertina in Vienna, the Thyssen-Bornemisza, the Peggy Guggenheim Collection in Venice and the Fine Arts Museum in Dordrecht, among many others.

Estim. 40 000 - 50 000 EUR

Lot 17 - PIERRE ALECHINSKY (Brussels, 1927). "Vile Instinct", 1974. Acrylic on paper adhered to canvas. Signed in the lower right corner. Signed, dated and titled on the back. Attached certificate signed by the artist and by Guy Pieters. Measurements: 114 x 154 cm; 115,5 x 155,5 cm (frame). Pierre Alechinsky had founded with Karel Appel and other artists the group CoBrA in the fifties. The desire to overthrow the rationalism and purism that had dominated certain avant-garde currents is maintained in the work that Alechinsky developed in the following decades. The aggressiveness of the gesture, the fiery palette, the violent stroke and the rejection of realism are searches to which Alechinsky remains faithful in this painting of 1974. The Belgian artist used to choose titles that referred to states of the soul or abstract concepts and that, with the symbolism of color, texture and impetuous gestures, he translated into subjugating compositions such as the one we are dealing with here. The "vile instinct" is thus captured in a lacerating symphony that stirs us from within. A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both talent and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

Estim. 150 000 - 200 000 EUR

Lot 18 - PIERRE ALECHINSKY (Brussels, 1927). "Iran & Caspian Sea", 1980-1990. Acrylic on paper adhered to canvas. Signed, dated and titled on the back. Signed on stretcher frame. Attached certificate issued and signed by the artist. Measurements: 108 x 146 cm; 124 x 162 cm (frame). Using as a base a geographical map centered on the area of Iran and the Caspian Sea, Alechinsky unfolds his imaginary and intervenes in it in a simplified way, delimiting certain zones and figuratively "flooding" others. This work belongs to his "marginal observations" series, small vignettes in the margins of the painting that will become a cardinal feature of his production. The series can be understood by taking into account that it comes from a vocabulary related to printing. "Engravers who had to draw with burin or drypoint on a copper plate tested their tool on the margin of the plate; by letting themselves go, they often sketched a small image. For my part, this sometimes explains what is at the center of the work, other times it accompanies it, it takes on more importance...", explains the artist himself. He continues, "The artist is not aware of it at the time, but by framing the central figure with other smaller drawings, he establishes an authentic pictorial device that assumes the limit of the painting and protects it, attracts our gaze and retains it". A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both gifts and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

Estim. 100 000 - 150 000 EUR

Lot 19 - JEAN DUBUFFET (Le Havre, France, 1901 - Paris, France, 1985). "Mire G 66 (Kowloon)", 1983. Acrylic on paper adhered to canvas. Signed with initials and dated in the upper left corner. With label on the back of The Pace Gallery. Attached certificate issued by the Guy Pieters Gallery. Measurements: 68 x 100 cm; 92 x 124 cm (frame). In the last stage of his life, Dubuffet obviates any figurative reference and uses gestural lines to express the most abstract aspects of thought. In his "Mire" series, he makes colorful tangles his main theme, analyzing what experience would be like if the mind did not organize the external world into preconceived, watertight categories, a theme that formed the backbone of his entire production and his commitment to "Art Brut", whose name he himself coined. The artist states: "These paintings should be considered learning practices of a new form of vision: a vision that has been freed from the misleading nomenclature with which humanism declares to analyze and catalog the changing mobile chaos of the universe". Although "Mira G 132 (Kowloon)" seems stripped of recognizable figures, a closer look reveals how in numerous areas faces are suggested. In fact, the subtitle refers to the bustling Hong Kong city of Kowloon. A French painter and sculptor, Jean Dubuffet settled in Paris in 1918 with the idea of studying painting at the Académie Julian, but after six months of training he abandoned his studies to become self-taught. Following his own path, in 1924 he stopped painting because of his doubts about the value of art, and took over his father's business, a wine merchant. However, in the thirties he returned to painting, although he took a new creative pause that lasted until 1942. In 1944 he held his first solo exhibition, and four years later he approached surrealism, evolving towards pataphysics in 1954. After reading Hans Prinzhorn's "Artistry of the mentally ill", Dubuffet coined the term "art brut" (raw art) for art produced by non-professionals working outside aesthetic norms, such as mental patients, prisoners and children. In fact, the artist sought to create an art free of intellectual concerns, and at times his work appears primitive and childish. Works by Dubuffet are currently held at MoMA, the Guggenheim and the Metropolitan Museum in New York, the Art Institute of Chicago, the Centre Pompidou in Paris, the Fondation de l'Hermitage in Lausanne, the Fukuoka Museum in Japan, the Kunstmuseum in Basel, the MACBA in Barcelona, the MNCARS in Madrid, the Tate Gallery in London and the Peggy Guggenheim Collection in Venice, among others.

Estim. 350 000 - 400 000 EUR

Lot 20 - SAM FRANCIS (San Mateo, California, 1923 - Santa Monica, California 1994). Untitled, 1977. Acrylic on paper. Sealed on the back by The Sam Francis Estate. Attached certificate issued by the Guy Pieters Gallery. Anti-reflective glass. Measurements: 34 x 27 cm; 60 x 51,5 cm (frame). Interested in Jungian psychoanalysis, the Californian painter Sam Francis developed a dreamlike abstraction that took special relevance in the seventies. The work in question is situated in this line of creation of unconscious images, which combined bands of paint applied with a roller (here in the form of blades) with drips and splashes of red and blue pigment. Some critics called them "fresh air images," and they were formed by an underlying matrix that he carpeted with imprints and drippings. St. Francis was interested in leaving room for intuition and the automatism of gesture to express the pulse of the soul. St. Francis studied botany, medicine and psychology at UC Berkeley in California from 1941 to 1943, and served in the United States Air Force during World War II from 1943 to 1945 before being injured in a plane crash. He spent several years in the hospital, and it was during this time that he began painting, at the urging of his friend David Parks, a professor at the San Francisco School of Fine Arts. Once out of the hospital he returned to Berkeley, this time to study art. His studies in painting and art history took him from 1948 to 1950. Francis' early work is directly influenced by the Abstract Expressionists such as Rothko, Gorky and Still. During the 1950s he resided in Paris, where he held his first solo exhibition in 1952 at the Nida Dausset Gallery. During the fifties and sixties he made important personal exhibitions and participated in group exhibitions at the Ribe Droite Gallery (Paris, 1955), Martha Jackson (New York, 1956), Gimpel Fils (London, 1957), the exhibition "New American Painting", which toured eight European cities (1958), the Documenta in Kassel (1959 and 1964) and the Kunsthalle in Bern and Dusseldorf. In 1963 he settled in Santa Monica, California, and six years later he was named Doctor Honoris Causa by the University of Berkeley. It was during this period, between 1960 and 1963, that he created several series of works, including the "Blue Balls" series. Consisting of predominantly biomorphic blue shapes and drops, these works referenced the pain that resulted from the kidney tuberculosis he suffered in 1961. He continued to paint, primarily in Los Angeles, but also in Tokyo, where he lived primarily in 1973-4. In 1965 Francis began a series of paintings that featured large areas of open canvas, minimal color and strong lines. His work evolved further after he began an intense Jungian analysis with Dr. James Kirsch in 1971. After 1980, the formal grid structure gradually disappeared from Francis' work. He was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at Francis' own Litho Shop.In 1984 Francis founded The Lapis Press with the goal of producing unusual and timely texts in visually appealing formats.

Estim. 45 000 - 55 000 EUR

Lot 21 - VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997). "Llide-D", 1962-1968. Acrylic painting on wood. Signed in the lower central margin. Signed, dated and titled on the back. Enclosed certificate issued by Pierre Vasarely. Measurements: 54 x 54 cm; 80 x 80 cm (frame). The painting "Llide-D" belongs to the collection "Ondulatoires", one of the emblematic series of Victor Vasarely, that the French-Hungarian artist, father of Op Art, made in the peak period of his career. The "Ondulatoires" series is inspired by the swaying of sea waves and the way light reflects on water. It is a paradigmatic example of kinetic art, an artistic style that explores the perception of movement through optical illusion and which Vasarely championed. It presents an abstract composition of lines that open outwards and, with a studied combination of the chromatic shift and the thickness of the line, produce an undulating effect when the viewer walks in front of the piece. "Llide-D" suggests the hypnotic calm of the experience of contemplating the sea at sunset. Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus student. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.

Estim. 75 000 - 95 000 EUR

Lot 22 - NIKI DE SAINT PHALLE (Neuilly-sur-Seine, France, 1930 - San Diego, California, 2002). "L'Oiseau Amoureaux", 2000. Painted resin. Copy 58/150. Signed, justified and stamped on the back (back basket). Enclosed certificate signed by Guy Pieters, Guy Pieters Gallery. Measurements: 60 x 48 x 23 cm. "L'Oiseau Amoureux" is an emblematic sculpture by the French artist Niki de Saint Phalle. It represents an anthropomorphic bird, its body hybridized with that of a woman hugging her breast. This woman hanging like a little girl from the big bird represents a "Nana", one of the artist's most iconic and vindicative pieces. Made in resin painted with bright and vibrant colors, it aligns with the bulk of Saint Phalle's work dedicated to femininity: her famous Nanas with imposing bodies that sometimes become inhabitable architectures, her bird-women, her love of nature, etc. "L'Oiseau Amoureux" celebrates the empowerment of women, a theme the artist began to address in the 1960s. It represents the freedom of flight, joy (symbolized by the colors) and love (through the embrace that fuses both bodies and with the profusion of feminine curves that characterize the corpulent anatomies of this sculptor). The "love bird" evokes a sense of liberation and optimism. By accentuating the curves, Saint Phalle wanted to challenge stereotypes of feminine beauty. Likewise, the title "L'Oiseau Amoureux" suggests the idea of passionate and transformative love, which lifts the individual above worldly limitations. There are several versions of "L'Oiseau Amoureux" in different parts of the world, including museums, public gardens and private collections. Some of the most notable locations are: Oslo's Sculpture Park or Ekebergparken, and the Tinguely Museum in Basel. Dedicated to her husband Jean Tinguely and works they did together, the museum and its garden holds numerous sculptures by Saint Phalle, including a large "Oiseau". Niki de Saint Phalle was one of the most renowned artists of the 20th century. In 1964, she began to create a series of works entitled "Nanas", which consisted of female figures with voluptuous forms and bright colors. These sculptures show a contrast between the playful or festive dimension of the object and a much more tragic, violent and pornographic one. In the early 1960s, the artist created the Shooting Paintings. It was in 1966 that she created the largest sculpture of a woman's body in the history of art, which was also part of the "Nanas" series and whose title was "Hon" ("She" in Swedish). A Nana that ceases to be sculpture and becomes architecture. It was installed in the Moderna Musset in Stockholm, under secrecy as it was a rather revolutionary act considering the time in which he made it, so a few days after opening it to the public, they closed the exhibition. In 1979 he began to build a sculpture park, "The Tarot Garden", located near Capalbio. In 1982, together with her husband Jean Tinguely, she built the "Fontaine Stravinsky" or Fountain of the Automatons, located next to the Pompidou Center in Paris. Many of Saint Phalle's sculptures have large dimensions and are exhibited in public spaces. The Niki Charitable Art Foundation maintains an online map and catalog of all its existing public artworks. Le Paradis Fantastique (The Fantastic Paradise, 1967), Moderna Museet, Stockholm, Switzerland (in collaboration with Tinguely). Golem (1971), Kiryat Hayovel, Jerusalem. Hannover Nanas (1973), together with Leibnizufer in Hannover, Germany. La Fontaine Stravinsky (Stravinsky Fountain or Fontaine des automates, 1982) near the Pompidou Center, Paris, Sun God (1983), a fantastic winged creature next to the University of California, San Diego Faculty Club as part of the Stuart Collection of public art.

Estim. 50 000 - 60 000 EUR

Lot 23 - NIKI DE SAINT PHALLE (Neuilly-sur-Seine, France, 1930 - San Diego, California, 2002). "Dog Vase", 2000. Painted resin, copy 3/10. Signed and justified. Base with inscription "NA-2012-29". Enclosed certificate signed by Guy Pieters, Guy Pieters Gallery. Measurements: 52,5 x 20 x 36 cm. Sculpture-vase by Niki de Saint Phalle, representing a dog standing on its hind legs. As usual in the work of the French artist, the resin is painted with cheerful colors that open the doors of fantasy and take us into an imaginary bestiary: in this case, a dog with a freely reinvented anatomy. With this type of figures, as with his sensual curvaceous women, Saint Phalle immerses us in a nature governed by its own laws. Genuinely feminine laws, powerful, warlike and loving at the same time. Likewise, doggy attributes par excellence, such as loyalty and friendship, are reread in this iconic piece, adding to the optimism that always prevailed in her proposals. Niki de Saint Phalle was one of the most renowned artists of the mid-twentieth century. She participated around 1962 in the exhibition "The Art of Assemblage" at the Museum of Modern Art in New York. In 1964 she began to create a series of works entitled "Nanas", which consisted of female figures with voluptuous forms and vivid colors. These sculptures show a contrast between the playful or festive dimension of the object and a much more tragic, violent and pornographic one. These images contrast with the conventional canon of feminine beauty. In the early 1960s, the artist created the Shooting 'Paintings. These works were polyethylene bags filled with paint in the shape of a human figure covered in white chalk. The image was created after shooting the figure out of bags of paint. It was in 1966 when he made the largest sculpture of a woman's body in the history of art, which was also part of the "Nanas" series and whose title was "Hon" ("She" in Swedish). A Nana that ceases to be sculpture and becomes architecture. It was installed in the Moderna Musset in Stockholm, under secrecy as it was a rather revolutionary act considering the time in which he made it, so a few days after opening it to the public, they closed the exhibition. In 1979 he began to build a sculpture park, "El jardín del tarot" in Spanish, located near Capalbio, Italy. In 1982, together with her husband Jean Tinguely, she built the "Fontaine Stravinsky" or Fountain of the Automatons, located next to the Pompidou Center in Paris. Many of Saint Phalle's sculptures have large dimensions and are exhibited in public spaces. The Niki Charitable Art Foundation maintains an online map and catalog of all its existing public artworks. Le Paradis Fantastique (The Fantastic Paradise, 1967), Moderna Museet, Stockholm, Switzerland (in collaboration with Tinguely). Golem (1971), Kiryat Hayovel, Jerusalem. Hannover Nanas (1973), together with Leibnizufer in Hannover, Germany. La Fontaine Stravinsky (Stravinsky Fountain or Fontaine des automates, 1982) near the Pompidou Center, Paris (in collaboration with Tinguely) Sun God (1983), a fantastic winged creature next to the University of California, San Diego Faculty Club as part of the Stuart Collection of public art.

Estim. 55 000 - 65 000 EUR

Lot 24 - YVES KLEIN (Nice, 1928-Paris, 1962). "L'esclave mourant d'apres Michel-Ange, 1962. IKB Pigment. Copy 299/300. Total edition of 350 copies. Under the base all copies bear a label specifying the edition number, the name of the publisher and the name of the person making the edition. A special display case was designed to present each edition on a plexiglass base, with or without protection. Enclosed is a certificate signed by the Guy Pieters Gallery. Measurements: 60 x 16 x 16 cm. "The Dying Slave", inspired by Michelangelo's David, was the last work of the artist, who died in 1962. Michelangelo's sculpture, created in 1513, was originally intended for the tomb of Pope Julius II, but was finally discarded from the project in 1542. The statue was then offered by the artist to Roberto Strozzi and entered the collections of Francesco I. Yves Klein was attracted by the tragic force of this grandiose piece by Michelangelo. By replicating it with his "International Klein Blue" he makes it his own, investing it with a new meaning: turning the slave nightmare into a utopia of liberation. The patented ultramarine blue pigment "International Klein Blue" was created by Yves Klein in the years 1955-1960 after a long research: "I was looking for a fixing medium capable of fixing each pigment grain to each other and then to the support, without any of them being altered or deprived of their autonomous possibilities of irradiation, while at the same time uniting with the others and with the support, thus creating the colored mass, the pictorial surface". A key artist of the neo-Dadaist movement, Yves Klein was born into a family of artists, although he began his career as a judoka. Deeply attracted by the philosophy and practice of judo, he studied at the Kodokan Institute in Tokyo, whose judo school is strongly influenced by Zen philosophy. Also from a very young age Klein became interested in the Christian religiosity of the Rosicrucian Order, combining the search for a state of emptiness and total harmony of Zen with the ritual and immateriality of the Rosicrucians. These aspects will remain in his personality for the rest of his life, and will have their expression in his art. Klein began painting in the 1950s, and presented himself as a visual artist at the 1955 Salon des Réalités Nouvelles in Paris, with the monochrome "Expression of the Universe in the Color Mino Orange". However, the Salon rejected his work, arguing that a single color was not enough to create a painting. In this first stage Klein will make monochrome works, using a roller and not a brush to eliminate any trace of the artist's hand. Color becomes the protagonist, as materialized sensibility, as sensory perception. In particular, the most important color for him will be blue, to which the artist attributes the most abstract motifs of tangible nature, such as the sky and the sea. In this context, Klein searched for a long time for a blue that preserved the original luminosity of the pigment, until he came up with IKB (International Klein Blue). This is a deep ultramarine blue that the artist himself developed and patented. Throughout his career he showed his work in exhibitions held in cities such as Milan, Paris, Dusseldorf and London, gaining rapid international recognition. He also explored beyond painting, proposing a personal architectural idea that replaces walls with air currents, or with exhibitions such as "Le Vide" (Paris, 1958), in which he presented a completely empty room, painted by him in white. He has also made outstanding series such as "Anthropometries", body prints in blue, pink or gold, and "Cosmogonies", where Klein captures the traces of wind and rain. Works by Yves Klein are currently on view in major museums around the world, including MoMA, the Guggenheim and Metropolitan Museums in New York, the Centre Pompidou in Paris, the Tate Gallery in London, the MUMOK in Vienna, the Guggenheim in Bilbao, the MNCARS in Madrid, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome and other public and private collections.

Estim. 100 000 - 120 000 EUR

Lot 25 - YVES KLEIN (Nice, 1928-Paris, 1962). "Table d'or". Glass, plexiglass, steel and gold pigment. Enclosed certificate issued by the Guy Pieters Gallery. Measurements: 37 x 125,5 x 100 cm. In the early sixties Klein endeavored to enter the world of furniture design with the creation of three elegant tables with fillings in striking materials, which seem to be suspended in a limitless space thanks to the transparency of the methacrylate or glass. The edition of these tables began in 1963, shortly after his death, and under the supervision of his widow, Rotraut Klein-Moquay, based on a 1961 Klein design. The three versions are differentiated by their colors, those most closely linked to the artist: Klein blue, the pink better known as "Monopink" and the golden yellow "Monogold". Each table has a plastic label that functions as an authenticity plate with the reference numbering and the facsimile of Rotraut Klein-Moquay's signature. The passion for the color gold is revealed through several excerpts from "The Monochrome Adventure" (1960), where Klein recounts the influence of working at the Old Brompton Road framing store and Savage Studio, both in London. Places in which I describe "the illumination of matter as a profoundly physical quality". A key artist of the neo-Dadaist movement, Yves Klein was born into a family of artists, although he began his career as a judoka. Deeply attracted by the philosophy and practice of judo, he studied at the Kodokan Institute in Tokyo, whose judo school is strongly influenced by Zen philosophy. Also from a very young age Klein became interested in the Christian religiosity of the Rosicrucian Order, combining the search for a state of emptiness and total harmony of Zen with the ritual and immateriality of the Rosicrucians. These aspects will remain in his personality for the rest of his life, and will have their expression in his art. Klein began painting in the 1950s, and presented himself as a visual artist at the 1955 Salon des Réalités Nouvelles in Paris, with the monochrome "Expression of the Universe in the Color Minium Orange". However, the Salon rejected his work, arguing that a single color was not enough to create a painting. In this first stage Klein will make monochrome works, using a roller and not a brush to eliminate any trace of the artist's hand. Color becomes the protagonist, as materialized sensibility, as sensory perception. In particular, the most important color for him will be blue, to which the artist attributes the most abstract motifs of tangible nature, such as the sky and the sea. In this context, Klein searched for a long time for a blue that preserved the original luminosity of the pigment, until he came up with IKB (International Klein Blue). This is a deep ultramarine blue that the artist himself developed and patented. Throughout his career he showed his work in exhibitions held in cities such as Milan, Paris, Dusseldorf and London, gaining rapid international recognition. He also explored beyond painting, proposing a personal architectural idea that replaces walls with air currents, or with exhibitions such as "Le Vide" (Paris, 1958), in which he presented a completely empty room, painted by him in white. He has also produced outstanding series such as "Anthropometries", body prints in blue, pink or gold, and "Cosmogonies", where Klein captures the traces of wind and rain. Works by Yves Klein are currently on view in major museums around the world, including MoMA, the Guggenheim and Metropolitan Museums in New York, the Centre Pompidou in Paris, the Tate Gallery in London, the MUMOK in Vienna, the Guggenheim in Bilbao, the MNCARS in Madrid, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome and other public and private collections.

Estim. 34 000 - 36 000 EUR

Lot 26 - CHRISTIAN DOTREMONT (Belgium, 1922 - Buizingen, 1979). "Zyzzling aardvark", 1972. India ink on paper. Signed, dated and titled in the lower left corner. Attached certificate signed by Samnuel Vanhoegaerden. Measurements: 98 x 62 cm; 113 x 76,6 cm (frame). This work in Chinese ink has a title difficult to translate, playful and surrealistic, as was in general the work of Christian Dotremont. We could translate it as "Sizzling Anteater" and it carries cryptic meanings. It also suggests a strange, magical and invented calligraphy. Dotremont was a visual poet, who was linked to the group CoBrA. Christian Dotremont was born in Tervuren. A Belgian painter and poet, he was a founding member of the Surrealist Revolutionary Group (1946). He became involved with the surrealist movement with the aim of revealing the multiple facets of art. He was also one of the founders of CoBrA together with the Danish artist Asger Jorn. It is Asger Jorn who introduces Dotremont to Galerie Birch, run by the charismatic art dealer and founder of the gallery, Børge Birch. Dotremont quickly becomes a personal friend of Birch's and many years later, long after the dissolution of the Cobra group, continued to maintain close contact with the Copenhagen gallery. As an artist who experimented with art throughout, he became known for his painted poems, called Peinture mots in French, which he called logogrammes. He defines them as something between images and words. Dotremont painted these "images of words and words of images" throughout his life. Dotremont caused the most important scandal to hit CoBrA; at the group's exhibition at the Stedelijk Museum in Amsterdam, he grabbed attention by delivering a lengthy political speech in favor of communism. Dutch viewers were instantly provoked by this harsh language. After this full-blown brawl, several of the CoBrA members withdrew from the movement. Clashes and disputes like this would inevitably cause the group to disband in 1951. Dotremont died of tuberculosis in Tervuren on August 20, 1979. Christian Dotremont appears in the following Danish public collections; Museum Jorn in Silkeborg, Louisiana Museum of Modern Art, AROS, The Kastrupgaard collection, Randers Museum of Art, KUNSTEN in lborg, Horsens Museum of Art, Funen Museum of Art. In addition to these, Dotremont is part of many international public and private collections.

Estim. 50 000 - 60 000 EUR

Lot 27 - JACQUES VILLEGLÉ (Quimper, 1926-Paris, 2022). "Johnny Scorpions", 1999. Décollage (marouflaged torn posters) on canvas. Signed in the lower right corner. Signed and titled on the back. Attached certificate of authenticity signed by the artist and by Guy Pieters. Measurements: 220 x 170 cm; 229 x 179 cm (frame). Jacques Villeglé explained that it was in the Paris subway, in 1969, when his "décollage" language (the inverse process to collage, since it acts by subtraction) took shape with force. That day he came across a poster protesting against the visit of President Nixon. The graffiti had a political typography that reinforced the idea of rejection. From this point on, he developed his political graphics. However, already in the fifties, he had begun to appropriate urban posters. He emulated in his own works the tears that posters suffer in the open by anonymous hands over the course of time, revealing underlying layers. "Johnny Scorpions" continues on this path, practicing a "guerrilla of signs", a palimpsest of messages that give rise to a new alphabet, fragmentary and subversive. Jacques Villeglé was a prominent member of the Nouveau Réalisme art group. He studied at the School of Fine Arts in Rennes, where he met Raymond Hains. Between 1947 and 1949, he studied architecture in Nantes and then settled in Paris. He began collecting objects on the beaches, especially in Saint-Malo (wires, remains of the Atlantic wall...) objects with which he conceived sculptures, but from 1949, he collected lacerated posters, initiating a more personal line as a "guerrilla poster artist". In the early fifties, the young artist frequented dissident lyricists (Bull Dog Brau, Guy Debord and Gil Wolman). In 1954 Villeglé met the lyricist poet François Dufrêne. In 1958 he wrote a manifesto about the lacerated posters entitled "Collective Realities", prefiguration of the manifesto of the New Realism. In 1960, after participating in the first Paris Biennial, Jacques Villeglé joined the group of the New Realists, being one of the founding members, along with Martial Raysse, Yves Klein, Arman, Tinguely, Hains, Dufrêne, Spoerri...). This movement decrees "new perceptive approaches to the real" and is based, as far as Villeglé is concerned, on an art that wants to be devoid of technique and close to what is found in the street. Together with his friend Raymond Hains, with whom he made the film "Penelope", Villeglé appropriates the abstract and lyrical tears of the city, instills in his works a dose of political contestation, and appropriates political and media messages by deconstructing their meaning. His first personal exhibition took place in 1959. From that date on, Villeglé's work was exhibited in more than a hundred personal exhibitions (in Europe and the United States) and in numerous group exhibitions (Salon des Jeunes in Paris, Salon Comparison, Salon Nika...). Important national museums acquired his works but, despite the innovative aspect of his vision, Jacques Villeglé had to wait until 1970 to make a living from his art and only achieved public recognition at the end of the seventies. He would have to wait until 1998 for the National Museum of Modern Art to acquire one of his lacerated posters. In 1971 the Staatgallerie in Stuttgart dedicated to him the first museum exhibition focused exclusively on the "affiches lacérées". That same year he stars in the restrospective at the Moderna Museet in Stockholm and at the Krefeld Museum. In 1976 and 1977 he participates in the traveling exhibition Panorama of French Art 1960-1975, which tours the Near East and North Africa. The following five years he takes part in several exhibitions, such as Paris-New York and Paris-Paris, at the Centre Pompidou. In 1977 the first edition of Lacerée anonyme ou Urbi & Orbi is produced. Throughout the 1980s and up to the present day, he has participated in more than 200 solo and group exhibitions all over the world, while editing and publishing his catalog raisonné. Several monographs on his work and figure also appear, as well as a biography written by Odile Felgine. Between 2000 and 2010 he promotes and collaborates in various street art activities; he is recognized by the most important Parisian graffiti artists as a pioneer and forerunner of their work.

Estim. 90 000 - 100 000 EUR

Lot 28 - WALTER LEBLANC (Silly, Belgium, 1932-Antwerp, Belgium, 1986). "Torsion Mobilo-Static", 1963-1972. Polyvinyl strips mounted on board. Unique piece. Signed, dated and titled on the back. With inscriptions. Enclosed is a certificate issued by the Boon Gallery. Bibliography: -Leblanc, N. "Walter Leblanc: catalogue raisonné", Ludion, Ghent, 1997, n.562/PF 630. Measurements: 27 x 27 cm; 40 x 40 cm (frame). Walter Leblanc's "twists" were his great contribution to the art world, especially in the field of optical and kinetic art. The Belgian artist stretched and twisted materials such as painted cotton threads and plastic ribbons over a traditional support to create simple geometric shapes and lightning-like patterns that caused the illusion of movement. "Torsion Mobilo-Static" is one of the most successful examples of this unique technique, which turns twisting into a pictorial element in itself by bringing light, movement and vibration. He developed torsions in two-dimensional and three-dimensional works, expanding the notions of painting and sculpture. Walter Leblanc is an important Belgian figure in post-war European art, within the international neo-avant-garde network of the Nouvelle Tendance. After graduating from the Royal Academy of Fine Arts in Antwerp, Leblanc became a founding member of the Antwerp avant-garde group G58. The exhibition "Anti-Peinture" (1962), which he curated at G58-Hessenhuis, served as a manifesto. After a figurative, abstract and later monochrome period, Leblanc left painting for good. In 1959, he began to introduce "twisting" as an important pictorial element in his work. These twists - made with cotton, plastic or metal threads - allowed him to bring movement, light and vibration to his reliefs and sculptures. Leblanc actively participated in pioneering international exhibitions such as Monochrome Malerei (1960, Leverkusen), The Responsive Eye (1965, MoMA, New York) and Serielle Formationen (1967, Frankfurt am Main). In 1964 he won the prestigious Young Belgian Art Prize and in 1970 he participated in the 35th Venice Biennale. From 1977 until his early death in 1986, Leblanc was a professor at the Instituut voor Archite. In 1984, Leblanc's works are featured in several museum exhibitions, including Vlamingen in Venetië, at the Dhondt-Dhaenens Museum in Deurle; Géométrie de la matière, at the Foundation of Contemporary Belgian Art; and Surface sculpturale, at Atelier 340 in Brussels, which will travel to Warsaw in 1985 and Krakow in 1986. Holds a solo exhibition with Frank Nietveld in Brasschaat. The province of Antwerp acquires a work. In 1985, the Lenz Collection is exhibited in public for the first time at the Carolino-Augusteum Museum in Salzburg. Walter and Nicole spend the summer on the island of Naxos in the Cyclades (Greece). The Royal Museum of Fine Arts in Antwerp acquires a third work. He creates an architectural installation for the lobby of the ABN Amro Bank, Brussels. On January 14, 1986, Walter Leblanc dies in a car accident on his way to the Brussels Museum of Modern Art to finish the lighting of the group exhibition Rapports Plan/Espace - Tussen Vlak en Ruimte. In 1989, three years after Leblanc's death, three museums organized retrospective exhibitions of his work: the Wilhelm-Hack Museum in Ludwigshafen, the Josef Albers Museum in Bottrop, Germany, and the Salzburg Museum in Austria.

Estim. 50 000 - 60 000 EUR

Lot 29 - CHRISTO (Bulgaria, 1935- USA, 2020). "Over the River, Project For Arkansas River, State of Colorado", 2008. Drawing and collage. Unique piece. Signed in the lower right corner and on the back. Titled and dated in the lower right corner. Attached certificate issued by Guy Pieters, Guy Pieters Gallery and signed by the artist. Measurements: 35.5 x 28 cm; 36.5 x 29 cm (frame). "Over the River, Project For Arkansas River, State of Colorado" was launched in 1992, when Christo, Jeanne Claude and their entire team traveled 22,530 km (14,000 miles) in search of the perfect location for its realization. During those trips, they prospected 89 rivers in a total of 7 states, finding 6 potential sites suitable for their ambitious goal. After revisiting all 6 sites in the summer of 1996, the Arkansas River in Colorado was selected as the site. The final plan included 9.5 kilometers of luminous silver fabric panels suspended over the water in eight different areas along a 67.6 kilometer stretch of the Arkansas River between Cañon City and Salida in south-central Colorado. At the bureaucratic level, Christo received all necessary federal, state and local permits to conduct Over The River in 2011, when the U.S. Department of Interior announced its Record of Decision. However, in 2012, a local group opposed to this temporary artwork filed lawsuits against Colorado State Parks in State Court and against the U.S. Federal Government, Bureau of Land Management, in U.S. Federal Court. In January 2017, after pursuing the project for 20 years and going through five years of legal battles, Christo decided to put it aside and devote all his energy, time and resources to the realization of The Mastaba in the United Arab Emirates. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 55 000 - 65 000 EUR

Lot 30 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Mastaba, Project for the United Arab Emirates", 2008. Mixed media drawing on paper. Unique piece. Signed and dated in the lower right corner and also on the back. Enclosed certificate signed by Christo. Measurements: 21,5 x 28 cm; 22,5 x 29 cm (frame). The La Mastaba project was conceived by Christo and Jeanne Claude in 1977 for the Liwa desert, approximately 160 km (100 miles) south of the city of Abu Dhabi. Although it could not be realized during the artists' lifetime, it is scheduled for postmortem execution, which will consist of carrying out the world's largest "mastaba" or contemporary sculpture (in volume), made of 410,000 multicolored barrels to form a colorful mosaic that echoes Islamic architecture (it should be recalled that a mastaba is a type of ancient Egyptian tomb with a rectangular base, flat roof and sloping side walls, built with adobe blocks or stone). The Mastaba will be 150 meters (492 feet) high, 300 meters (984 feet) long on the vertical walls and 225 meters (738 feet) wide on the 60-degree sloping walls. The feasibility of the immense project is supported by the fact that, in 2007 and 2008, Christo and Jeanne-Claude engaged engineering professors from ETH Zurich (Swiss Federal Institute of Technology Zurich), the University of Illinois at Urbana-Champaign in the USA, Cambridge University in the UK and Hosei University in Tokyo, Japan, to prepare feasibility studies. In the end, the Hosei University concept was deemed to be the most technically sound and innovative. Once government approval is obtained, the construction period will last at least three years, and will be a self-financed project that will not require government funding, as is the case with all of the artistic tandem's projects. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money by painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 100 000 - 110 000 EUR

Lot 31 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Pont Neuf wrapped Project for Paris", 1985. Mixed media on paper. Signed and dated in the lower left corner and on the back. Attached certificate signed by the artist. Measurements: 28 x 35 cm; 29 x 36 cm (frame). Christo and Jeanne Claude's "wrappers" have had a special impact on the history of contemporary art. This pair of conceptual artists conceived the idea of wrapping public monuments to generate the double game of giving visibility to something through the practice of hiding it: statues and emblematic buildings usually go unnoticed, so Christo, from the seventies on, planned to resignify them (most of them remaining only in projects, with plans, drawings, etc.) opting for a type of art that was at the same time grandiloquent and ephemeral. On September 22, 1985, 300 workers unfurled 41,800 square meters (450,000 square feet) of silky-looking, golden sandstone-colored polyamide fabric over the famous Pont Neuf in Paris, which remained covered for 14 days. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 90 000 - 100 000 EUR

Lot 32 - CHRISTO (Bulgaria, 1935- USA, 2020). "Wrapped Reichstag, Project for Berlin", 1995. Collage. Signed and dated in the lower right corner. Signed and dated on the back. Attached certificate issued by the Guy Pieters Gallery signed by Christo. Measurements: 22 x 28,5 cm. Christo and Jeanne Claude's "wrappers" have had a special impact on the history of contemporary art. This pair of conceptual artists conceived the idea of wrapping public monuments to generate the double game of giving visibility to something through the practice of hiding it: statues and emblematic buildings usually go unnoticed, so Christo, from the seventies, planned to resignify them (leaving most of them only in projects, with plans, drawings, etc.) opting for a type of art that was at the same time grandiloquent and ephemeral. In 1995, after a struggle that lasted up to 70 years, the city of Berlin witnessed one of the most astonishing projects of the artistic tandem: the Reichstag was wrapped with 100,000 square meters of polypropylene with an aluminum surface and 15.6 km of blue polypropylene rope. The facades, towers and roof were covered with 70 custom-made fabric panels, twice as much fabric as the building's surface area. The construction remained wrapped for 14 days and all materials were recycled after the project was completed. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money by painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 85 000 - 95 000 EUR

Lot 33 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Arc de Triomphe de L'Etoile, Wrapped (place Charles de Gaulle Paris)". Collage. Signed and dated in the lower right corner. Signed and dated on the back. Attached document signed by Christo in 2019. Measurements: 28 x 22 cm; 29 x 23 cm (frame). The tourist who in late September and early October 2021 would be lucky enough to stroll along the Arc de Triomphe in Paris would most likely be in for a shocking surprise: the iconic monument had been wrapped by Christo and Jeanne Claude with 25,000 square meters of silver-blue recyclable polypropylene fabric, and with 3,000 meters of red rope. The history of this project dates back to 1961 when, three years after meeting in Paris, Christo and Jeanne-Claude began creating works of art in public spaces. One of their projects was to wrap a public building. The Christo and Jeanne-Claude Foundation itself states "When he arrived in Paris, Christo rented a small room near the Arc de Triomphe and was drawn to the monument from then on. In 1962, he made a photomontage of the wrapped Arc de Triomphe as seen from Avenue Foch and, in 1988, a collage. 60 years later, the project was finally realized." Christo and Jeanne Claude's "wrappings" have had a special impact on the history of contemporary art. This pair of conceptual artists conceived the idea of wrapping public monuments to generate the double game of giving visibility to something through the practice of hiding it: statues and emblematic buildings usually go unnoticed, so Christo, from the seventies on, planned to resignify them (leaving most of them only in projects, with plans, drawings, etc.) opting for a type of art that was at the same time grandiloquent and ephemeral. A well-known artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money by painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 120 000 - 140 000 EUR

Lot 34 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Mastaba, project for London", 2018. Collage. Unique piece. Signed and dated in the lower right corner. Signed and dated on the back. Measurements: 22.5 x 29 x 3 cm. 7,506 barrels were stacked horizontally on a floating platform on the Serpentine Lake in London's Hyde Park. The project, which took place in 2018 and was temporary in nature, was named "Mastaba" because the super structure took the form of a mastaba (tomb with a rectangular base, flat roof and sloping side walls, built with adobe blocks or stone in Ancient Egypt). The huge sculpture, with a total weight of 600 tons, was anchored to the lake bed with 32 anchors. Its footprint covered approximately 1% of the lake's total surface area. Like all of the artistic tandem's projects, it was entirely self-financed through the sale of original artwork by Christo like the one we are now bidding for. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied from 1952 to 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money by painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 110 000 - 120 000 EUR

Lot 35 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Floating Piers, Project for Lake Iseo, Italy", 2016. Collage. Unique piece. Signed and dated in the lower left corner. Signed and dated on the back. Attached certificate issued by the Guy Pieters Gallery signed by the artist. Measurements: 29,5 x 22 x 3 cm. One of Christo and Jeanne-Claude's most striking projects in Italy was the one carried out on Lake Iseo (about 100 km east of Milan), in which they placed 100,000 square meters of bright yellow fabric that floated and moved with the swaying of the waves. Called "The Floating Piers," it was a project self-financed by the artistic tandem, absolutely free and open to the public. "Those who experienced The Floating Piers felt as if they were walking on water, or perhaps on the back of a whale," Christo said. "The light and water transformed the bright yellow fabric into shades of red and gold over the course of sixteen days." The Floating Piers was first conceived by Christo and Jeanne-Claude in 1970. It was Christo's first large-scale project since Christo and Jeanne-Claude realized The Gates in 2005, and since Jeanne-Claude passed away in 2009. An acknowledged artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 130 000 - 150 000 EUR

Lot 36 - CHRISTO (Bulgaria, 1935- USA, 2020). "The Gates, Project for Central Park New York City", 2001. Collage on paper. Signed and dated in the lower right corner. Signed and dated on the back. Attached certificate signed by Christo in 2012. Measurements: 36 x 56 cm; 36 x 57 x 3 cm (frame). Central Park was the perfect setting for the installation of "The Gates", a project devised by Christo and Jeanne-Claude consisting of the placement of 7,503 saffron-colored panels supported on steel bases that ran along part of its geography. No holes were drilled in the ground for the installation, and the entire project was financed by the artistic tandem themselves (as were each and every one of Christo and Jeanne-Claude's designs). For New Yorkers walking through The Gates following the walkways, "the saffron-colored fabric was a golden ceiling creating warm shadows. Seen from the buildings surrounding Central Park, The Gates looked like a golden river that appeared and disappeared among the bare branches of the trees and highlighted the shape of the meandering paths," says the Foundation itself. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 130 000 - 150 000 EUR

Lot 37 - CHRISTO (Bulgaria, 1935- USA, 2020). "Over the River, Project For Arkansas River, State of Colorado", 2011. Set of two drawings-collage (ref. 80A and ref. 80B). Considered a single piece. Unique piece. With explanation on the back. Signed in the lower right corner of the upper part (ref. 80A) and dated. Attached certificate issued by Guy Pieters, Guy Pieters Gallery and signed by the artist. Measurements: 39.5 x 244 cm (upper or ref. 80A) and 108 x 244 cm (lower or ref. 80B). "Over the River, Project For Arkansas River, State of Colorado" was launched in 1992, when Christo, Jeanne Claude and their entire team traveled 22,530 km (14,000 miles) in search of the perfect location for its realization. During those trips, they prospected 89 rivers in a total of 7 states, finding 6 potential sites suitable for their ambitious goal. After revisiting all 6 sites in the summer of 1996, the Arkansas River in Colorado was selected as the site. The final plan included 9.5 kilometers of luminous silver fabric panels suspended over the water in eight different areas along a 67.6 kilometer stretch of the Arkansas River between Cañon City and Salida in south-central Colorado. At the bureaucratic level, Christo received all necessary federal, state and local permits to conduct Over The River in 2011, when the U.S. Department of Interior announced its Record of Decision. However, in 2012, a local group opposing this temporary artwork filed lawsuits against Colorado State Parks in State Court and against the U.S. Federal Government, Bureau of Land Management, in U.S. Federal Court. In January 2017, after pursuing the project for 20 years and going through five years of legal battles, Christo decided to put it aside and devote all his energy, time and resources to the realization of The Mastaba in the United Arab Emirates. A renowned artistic couple of the late 20th century, Christo and Jeanne-Claude's wrapped objects are some of the most extreme examples of conceptual art. Christo Valdimirov Javacheff studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he would travel to Geneva and finally to Paris. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he likened to prostitution. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. Christo and Jeanne-Claude met in Paris in November 1958. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the port of Cologne. In 1962, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer", as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, they have completed numerous large-scale projects around the world, including "Running fence" and "Wrapped walk ways" in the United States, "Pont Neuf" in Paris, "Umbrellas" in the United States and Japan, and the Reichstag building in Germany.

Estim. 400 000 - 450 000 EUR

Lot 38 - BERT VREDEGOOR (Netherlands, 1956). "Sacred Ground 5," 2003. Spray print on velvet. Diptych. Copy 5/10. The piece is split in two down the middle, vertically. Signed, dated, titled and justified by hand on the back. Measurements: 180 x 170 cm. Velvet is for Bert Vredegoor an essential and defining material, the driving force of many of his most important series. This is the case of the work "Sacred Ground 5" in tender, in whose creative process the Belgian artist bleached the black velvet with chlorine solutions at different concentrations to create the image of a gothic door forged in iron and illuminated from the bottom by a faint golden light. The result is a golden yellow coloration (sometimes red) that is illuminated from the dark background. With this chemical process Vredegoor manages to create light in the dark in the literal and figurative sense of the term. In the artist's own words "These works are intimate, contemplative, inspire tranquility and refer to mystical and religious perceptions. The magic of golden light is captured and preserved through a unique and enduring process." Trained at the Academy of Art and Design in Arnhem (The Netherlands), Vredegoor's creative imagination leads the artist to experiment with various techniques and materials, making hers a unique and unmistakable art.

Estim. 6 000 - 8 000 EUR

Lot 39 - ROBERT COMBAS (Lyon, 1957). "A kiss in maxi size", 2011. Acrylic on canvas. Signed and dated in the lower right corner. Signed and inscribed on the back. Attached certificate of authenticity issued and signed by Robert Combas. Measurements: 139 x 193 cm; 143 x 197 cm (frame). In "A kiss in maxi size" Robert Combas demonstrates his clear affiliation with the Free Figuration movement, "a painting that does not deny its primitive instincts nor its will of culture" according to Combas himself, which has its roots in Fauvism and expressionism and establishes a connecting thread with the neo-expressionist movement and the art of graffiti, flagging itself against minimalism and conceptual art. The combination of thick lines and bright colors makes us think of Art Brut and the CoBrA group, but also of Keith Haring's language, underground culture and comics. It is a frenetic and revolutionary painting, aggressive and insightful, capable of altering the senses of those who observe it. French painter and sculptor, Robert Combas was trained at the School of Fine Arts in the city of Sete, in the southeast of France, and had his first solo exhibition in 1980. He is considered the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Therefore, Combas' works become a critique of society in general, through an intense style, based on the use of powerful, vivid and passionate colors that leave no centimeter of the canvas free, outlining in black the figures he represents. Other founding members of the Figuration Libre movement include Rémy Blanchard, François Boisrond and Hervé Di Rosa. Combas exhibited at the Leo Castelli Gallery in New York with Keith Haring in 1983. Subsequently his work has been the subject of numerous retrospectives, both in France and abroad: ARCA in Marseille (1984), CAPC in Bordeaux, Stedelijk Museum in Amsterdam (1987), Taipei Museum of Fine Arts in Taiwan (1990), Musée d'art moderne de la Ville de Paris (1993), Musée Paul-Valéry in Sète (2000), Seoul Museum of Art, in Seoul (2006 ), Fondation Mudima in Milan (2009), MAC in Lyon (2012) and Grimaldi Forum in Monaco (2016). The artist currently lives and works in Paris since 1981.

Estim. 60 000 - 70 000 EUR

Lot 40 - ROBERT COMBAS (Lyon, 1957). "Human dragons immortalized", 2011. Acrylic on canvas. Signed and dated reverse. Signed and inscribed on the back. Attached certificate of authenticity issued and signed by Robert Combas. Measurements: 139 x 193 cm; 143 x 198 cm (frame). In "Immortalized Human Dragons" Robert Combas shows his clear affiliation with the Free Figuration movement, "a painting that does not deny its primitive instincts nor its will of culture" according to Combas himself, which has its roots in Fauvism and expressionism and establishes a connecting thread with the neo-expressionist movement and the art of graffiti, flagging itself against minimalism and conceptual art. The combination of thick lines and bright colors makes us think of Art Brut and the CoBrA group, but also in the language of Keith Haring, underground culture and comics. It is a frenetic and revolutionary painting, aggressive and insightful, capable of altering the senses of those who observe it. French painter and sculptor, Robert Combas was trained at the School of Fine Arts in the city of Sete, in the southeast of France, and had his first solo exhibition in 1980. He is considered the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Therefore, Combas' works become a critique of society in general, through an intense style, based on the use of powerful, vivid and passionate colors that leave no centimeter of the canvas free, outlining in black the figures he represents. Other founding members of the Figuration Libre movement include Rémy Blanchard, François Boisrond and Hervé Di Rosa. Combas exhibited at the Leo Castelli Gallery in New York with Keith Haring in 1983. Subsequently his work has been the subject of numerous retrospectives, both in France and abroad: ARCA in Marseille (1984), CAPC in Bordeaux, Stedelijk Museum in Amsterdam (1987), Taipei Museum of Fine Arts in Taiwan (1990), Musée d'art moderne de la Ville de Paris (1993), Musée Paul-Valéry in Sète (2000), Seoul Museum of Art, in Seoul (2006 ), Fondation Mudima in Milan (2009), MAC in Lyon (2012) and Grimaldi Forum in Monaco (2016). The artist currently lives and works in Paris since 1981.

Estim. 60 000 - 70 000 EUR

Lot 41 - PETER HALLEY (New York, 1953). "Revival," 2012. Acrylic, Day-Glo acrylic and Roll-a-Tex on canvas. Attached certificate signed by the artist. Signed and dated on the back. Measurements: 170 x 141 cm; 174 x 145 x 13,5 cm (frame). In "Revival", Peter Halley takes his reflections initiated in the eighties (as the most prominent figure of the neo-geo movement) to their highest point. He refines his research on geometry as a carrier of hidden and critical meanings concerning power structures and coercive social dynamics. Bands, rectangles create the sensation of order and rigidity, while fluorescent colors (intense yellow, red bands) seek to create a sense of certain latent violence and visual energy. Peter Halley's "Revival" is a bold and provocative exploration of geometric abstraction, color theory and the relationship between art and society. This has been his life project, his great contribution to the history of contemporary art: the masterful conceptual and formal twist he gave to geometric abstraction. In the eighties, Halley began to revise geometric abstract art (the minimalist tradition of Donald Judd and Frank Stella). In his series of plumbed cells he introduced the idea of conductors linking prison cells, as metaphors for the institutional regulation of life. They were abstract representations of the post-industrial landscape and brought out the invisible geometry that underlies the social world. Halley draws inspiration from artists such as Piet Mondrian, Josef Albers and Donald Judd, but his concerns are decidedly contemporary: his diagrams evoke the alienation of consumerism, city life and technology. He uses textured industrial paint (Roll-a-Tex) and Day-Glo acrylic (already used by pop artists), which helps to evoke artificial lighting. Halley applies his fluorescent tones with a roller rather than a brush to leave no trace of the artist's hand. Halley's works have fetched up to six-figure prices at auction and are in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Tate and the Pompidou Center. Peter Halley is one of the most influential artists on the international scene. He became known for his geometric painting, done in intense day-glo colors, in the early 1980s. His pictorial activity is often associated with minimalism, neo-geo and neo-conceptualism. Halley is also known as a writer, editor and teacher. He received his BA from Yale University and his MFA from the University of New Orleans in 1978. Halley first exhibited in 1985 at International with Monument, a gallery in the East Village, NY, which he founded in 1984 with Jeff Koons, Ashley Bickerton and Meyer Vaisman. Since then he has had exhibitions at Mary Boone Gallery, Sonnabend Gallery, Galerie Bruno Bischofberger, Jablonka Galerie, Galerie Thaddeus Ropac and Waddington Galleries. His first major exhibition of his work took place at the CAPC museum in Bordeaux in 1992. Halley is also a noted lecturer, having lectured at the Art Institute of Chicago and the American Academy in Rome. He is also co-founder and editor of Index Magazine. His treatises on art, influenced by French post-structuralism, have been published in two volumes. Since 2001 he has been the director of the painting and printmaking studios at the Yale School of Art. His works can be found, among others, at MoMA, the Guggenheim in NY, the San Francisco Museum of Modern Art and the Tate Gallery.

Estim. 120 000 - 140 000 EUR

Lot 42 - PETER HALLEY (New York, 1953). "Epic," 2013. Acrylic, Day-Glo acrylic and Roll-a-Tex on canvas. Signed and dated on the back. Attached certificate signed by the artist. Measurements: 170 x 141 cm; 174 x 145 x 13,5 cm (frame). In "Epic", Peter Halley continues his research on geometry as a carrier of hidden meanings relating to power structures and coercive social dynamics. Bands, rectangles create a sense of order and rigidity, while fluorescent colors seek to create a sense of some latent violence and visual energy. Peter Halley's "Epic" series is a bold and provocative exploration of geometric abstraction, color theory and the relationship between art and society. This has been his life project, his great contribution to the history of contemporary art: the masterful conceptual and formal twist he gave to geometric abstraction. In the eighties, Halley began to revise geometric abstract art (the minimalist tradition of Donald Judd and Frank Stella). In his series of plumbed cells he introduced the idea of conductors linking prison cells, as metaphors for the institutional regulation of life. They were abstract representations of the post-industrial landscape and brought out the invisible geometry that underlies the social world. Halley draws inspiration from artists such as Piet Mondrian, Josef Albers and Donald Judd, but his concerns are decidedly contemporary: his diagrams evoke the alienation of consumerism, city life and technology. He uses textured industrial paint (Roll-a-Tex) and Day-Glo acrylic (already used by pop artists), which helps to evoke artificial lighting. Halley applies his fluorescent tones with a roller rather than a brush to leave no trace of the artist's hand. Halley's works have fetched up to six-figure prices at auction and are in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Tate and the Pompidou Center. Peter Halley is one of the most influential artists on the international scene. He became known for his geometric painting, done in intense day-glo colors, in the early 1980s. His pictorial activity is often associated with minimalism, neo-geo and neo-conceptualism. Halley is also known as a writer, editor and teacher. He received his BA from Yale University and his MFA from the University of New Orleans in 1978. Halley first exhibited in 1985 at International with Monument, a gallery in the East Village, NY, which he founded in 1984 with Jeff Koons, Ashley Bickerton and Meyer Vaisman. Since then he has had exhibitions at Mary Boone Gallery, Sonnabend Gallery, Galerie Bruno Bischofberger, Jablonka Galerie, Galerie Thaddeus Ropac and Waddington Galleries. His first major exhibition of his work took place at the CAPC museum in Bordeaux in 1992. Halley is also a noted lecturer, having lectured at the Art Institute of Chicago and the American Academy in Rome. He is also co-founder and editor of Index Magazine. His treatises on art, influenced by French post-structuralism, have been published in two volumes. Since 2001 he has been the director of the painting and printmaking studios at the Yale School of Art. His works can be found, among others, at MoMA, the Guggenheim in NY, the San Francisco Museum of Modern Art and the Tate Gallery.

Estim. 120 000 - 140 000 EUR

Lot 43 - JOSE MARIA SICILIA (Madrid, 1954). "El instante", 2013. Ink on Japan paper. Attached certificate of authenticity signed by the artist. Signed with initials and dated in the lower right corner. Measurements: 210 x 151 cm; 224 x 163.5 x 163.5 x 5.5 cm (frame). The Reina Sofia Museum in Madrid houses in its collection a triptych entitled "The Instant", made only a year before the present painting. The use of the same title reveals Sicilia's interest in time, its fleetingness and variability when it comes to understanding and inhabiting it. It is this concept that Sicilia turns into a visual poetry, apparently random and arbitrary, but consolidated through strict rules, sometimes imperceptible to the human eye. The movement occurs in this image following a multiplicity of shapes and colors that are suspended in a white immensity. In fact, rescuing the words that the artist himself dedicated to the triptych of the Reina Sofia Museum, we can understand this lyrical landscape proposed by the artist; "This work is composed by translations of birdsongs through computer programs. The bird's song is the instant, a place from which no one returns, where there is no past or future. This instant is a fullness in which we know we exist, it feeds us and eats us at the same time. The instant is to touch in time what is not time." Sicilia began his studies at the School of Fine Arts in Madrid, although in 1980 he abandoned them and moved to live in Paris. Two years later he will present his first solo exhibition, in a style in line with the neo-expressionism then fashionable in Europe. Subsequently, it was the various objects of the everyday world that became the protagonists of his works. Vacuum cleaners, irons, scissors, buckets, etc., will be the center of a new language in which Sicilia will grant a greater and progressive importance to the treatment of textures. His work is organized in series on still lifes, landscapes and, the best known, on the Bastille and Aligre neighborhoods, where he himself lives and works. It was in the mid-eighties when his work reached a great national and international projection. In 1986 he presented at the Blum Helman Gallery in New York a group of works that showed a strong purification of the previous style, towards an abstract painting in which he progressively eliminated any formal reference. This new style is reflected in the series "Tulips" and "Flowers". In the nineties this reductionist aesthetic will affect the chromatic range, leaving the forms suggested by the reflection of light on the surface. A new material treatment of subtle poetic resonance, based on waxes that let floral themes slightly transparent, brings color back to an already fully consecrated work. José María Sicilia has been awarded the National Prize of Plastic Arts (1989), and is represented in the Reina Sofía Museum in Madrid, the MOMA and the Guggenheim in New York and the CAPC in Bordeaux, among many other centers.

Estim. 30 000 - 35 000 EUR

Lot 44 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "Random Combination of Points", 2013. Collage and graphite on paper. Signed, dated and titled in the lower right corner. Attached certificate issued by the Guy Pieters Gallery. Measurements: 105 x 75 cm; 117 x 86.5 cm (frame). Lines and dots have been the backbone of Bernar Venet's most emblematic proposals. The randomness referred to in the title of this work refers to the artist's interest in questioning mathematical and social determinism, introducing unpredictability and creative chaos. However, underlying her works is a structured plan, with which she is interested in underlining the irresolvable paradox between both principles: chance and determination, order and disorder. Cosmos and chaos are the yin and yang of creation. This particular piece has been related to the experimental and aleatoric music of John Cage. Conceptual artist Bernar Venet is best known for his precise and mathematically rigorous sculptures, often made of steel. Painting, collage and charcoal are also his means of expression. Within his artistic practice, he has also carried out continuous experiments with other industrial materials, such as coal and asphalt. In the 1960s, Venet was influenced by the work of Arman and the New Realists working in Paris, and began making cardboard sculptures. A visit to New York in 1966 brought him closer to Minimalism, and he subsequently shared a studio with Arman in midtown Manhattan and interacted with artists such as Donald Judd and Sol LeWitt. In the decades that followed, the artist honed his signature style and his work came to reflect his ongoing formal artistic investigations. In 2005 he was decorated Knight of the Legion of Honor, and in 2014 he inaugurated the Venet Foundation, a museum and archive of his work. This year 2023 marks the 60th anniversary of Venet's seminal work Tas de charbon (1963), made of charcoal, which heralded the beginning of his meticulous research practice. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Piguet, Guy Boyer and Catherine Francblin. The Coal Pile (1963) celebrates its 60th anniversary with four presentations of

Estim. 35 000 - 45 000 EUR

Lot 45 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "80,5º ARC x15", 2003. Black patinated steel. Titled on the front of one side. Attached certificate signed by the artist Measurements: 31 x 121 x 41 cm; 41 cm (height with base). Venet's work is recognized as self-referential, with the lines, angles and curves stripped of any symbolic allusion or decorative element. Instead, the works function as irreducible monoliths that affect the perception of the places they occupy. These characteristics are evident in this piece made of steel (one of his favorite materials). We are before a sculpture of informal appearance but which is the result of a precise and rigorous study of the materials and the balance achieved with the visual balance of the beams of lines. His sculptures, drawings and paintings explore the line as a carrier of divergent potentialities: order and disorder, the determined and the indeterminate? In his traces, the line becomes a three-dimensional and unstable figure, and forces the viewer to follow its course in search of the beginning and the end. Conceptual artist Bernar Venet is best known for his mathematically precise sculptures, often made of steel. Within his artistic practice, he has also conducted continuous experiments with other industrial materials, such as coal and asphalt. In the 1960s, Venet was influenced by the work of Arman and the New Realists working in Paris, and began to produce cardboard sculptures. A visit to New York in 1966 brought him closer to Minimalism, and he subsequently shared a studio with Arman in midtown Manhattan and interacted with artists such as Donald Judd and Sol LeWitt. In the decades that followed, the artist honed his signature style and his work came to reflect his ongoing formal artistic investigations. In 2005 he was decorated Knight of the Legion of Honor, and in 2014 he inaugurated the Venet Foundation, a museum and archive of his work. This year 2023 marks the 60th anniversary of Venet's seminal work Tas de charbon (1963), made of charcoal, which heralded the beginning of his meticulous research practice. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Pigu

Estim. 65 000 - 70 000 EUR

Lot 46 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "8 Acute Unequal Angles," 2015. Patinated steel. Titled on one of the legs. Attached certificate signed by the artist. Measurements: 107 x 35 x 20 cm. In "Unequal Acute Angles", Bernar Venet takes his uninterrupted dialogue with the minimalist tradition to a new level. He explores the line (his main theme since the seventies) as it moves through space by means of steel bars forming a variety of acute angles (of less than 90 degrees). Steel is his favorite material because of its industrial aspect and solidity. Randomness intervenes in the result of the angles and introduces an element of unpredictability to challenge underlying notions of order. The sculpture invites the viewer to contemplate the relationship between the parts and the whole, as well as the interplay between stability and movement, between full and empty, between spontaneity and determinism. It was in the mid-seventies that Venet began to place the line at the center of his conceptual research. While in a scientific context a line is a clearly defined geometric form, Bernar Venet used this simple geometric form to demonstrate divergent concepts. Conceptual artist Bernar Venet is best known for his precise and mathematically rigorous sculptures, often made of steel. Painting, collage and charcoal are also his means of expression. Within his artistic practice, he has also carried out continuous experiments with other industrial materials, such as coal and asphalt. In the 1960s, Venet was influenced by the work of Arman and the New Realists working in Paris, and began making cardboard sculptures. A visit to New York in 1966 brought him closer to Minimalism, and he subsequently shared a studio with Arman in midtown Manhattan and interacted with artists such as Donald Judd and Sol LeWitt. In the decades that followed, the artist honed his signature style and his work came to reflect his ongoing formal artistic investigations. In 2005 he was decorated Knight of the Legion of Honor, and in 2014 he inaugurated the Venet Foundation, a museum and archive of his work. This year 2023 marks the 60th anniversary of Venet's seminal work Tas de charbon (1963), made of charcoal, which heralded the beginning of his meticulous research practice. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new

Estim. 120 000 - 140 000 EUR

Lot 47 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "223.5º Arc x 4", 2005. Corten steel. Unique piece. Titled at lower right. Attached certificate issued by Bernar Venet Studio signed by the artist. Measurements: 219 x 222 x 32 cm. Monumental sculpture by Bernar Venet belonging to his well-known series "Arcs". Venet's work is recognized as self-referential, with the lines, angles and curves stripped of any symbolic allusion or decorative element. Instead, the works function as irreducible monoliths that affect the perception of the places they occupy. These characteristics are evident in this piece made of steel (one of his favorite materials). We are before a sculpture of informal appearance but which is the result of a precise and rigorous study of the materials and the balance achieved with the visual balance of the beams of lines. His sculptures, drawings and paintings explore the line as a carrier of divergent potentialities: order and disorder, the determined and the indeterminate? In his traces, the line becomes a three-dimensional and unstable figure, and forces the viewer to follow its course in search of the beginning and the end. The conceptual artist Bernar Venet is best known for his precise and mathematically rigorous sculptures, often made of steel. Painting, collage and charcoal are also his means of expression. Within his artistic practice, he has also carried out continuous experiments with other industrial materials, such as coal and asphalt. In the 1960s, Venet was influenced by the work of Arman and the New Realists working in Paris, and began making cardboard sculptures. A visit to New York in 1966 brought him closer to Minimalism, and he subsequently shared a studio with Arman in midtown Manhattan and interacted with artists such as Donald Judd and Sol LeWitt. In the decades that followed, the artist honed his signature style and his work came to reflect his ongoing formal artistic investigations. In 2005 he was decorated Knight of the Legion of Honor, and in 2014 he inaugurated the Venet Foundation, a museum and archive of his work. This year 2023 marks the 60th anniversary of Venet's seminal work Tas de charbon (1963), made of charcoal, which heralded the beginning of his meticulous research practice. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIB

Estim. 350 000 - 400 000 EUR

Lot 48 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "Point 6 cm", 1994-2009. Set of three pieces in waxed steel cut with a blowtorch. Attached certificate issued by Bernar Venet Studio Archives signed by the artist. Measurements: 3,5 x 6 x 6 cm. With this sculptural ensemble formed by three independent pieces of waxed steel, Bernar Venet questions the principles of chance, while defining heterogeneous spaces that can be read as both three-dimensional sculptures and frontal planes of infinite dimensions. "Point", was the piece chosen to illustrate the catalog of Bernar Venet's exhibition "L'hypothèse du point", which took place at the Espace Jacques Villeglé in Saint-Gratien, spring 2014. Thus demonstrating the relevance of this piece in the conceptual development of his artistic career. In this particular piece the artist creates a double affirmation, or reaffirmation not only through form, but also through words. Just as Magritte played with the viewer by telling him that it was not a pipe, Venet leaves no room for doubt about the form and the idea of the point. Venet manipulates the physical and material aspects of his pieces to direct the viewer's mind to an immaterial mental concept. Venet avoids intricate layers of meaning and symbolism; instead, he aims for monosemy in his work. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Piguet, Guy Boyer and Catherine Francblin. The Coal Pile (1963) celebrates its 60th anniversary with four presentations of it in France, at 109 in Nice (with an exhibition showing the artist's works from 1963 onwards), at the Musée Fabre in Montpellier, at the Château de Montsoreau in the Loire Valley (where the artist's conceptual period will also be shown), at the Verrière de Meisenthal (alongside two imposing sculptures) and, finally, one in Luxembourg, at Ceysson & Bénétière. At the Fondation Venet, an impressive installation welcomes summer visitors: a large sculpture with a 6-meter subway structure (in collaboration with the architect Charles Berthier).

Estim. 8 000 - 10 000 EUR

Lot 49 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "Point 12 cm", 1994-2009. Waxed steel cut with a blowtorch. Attached certificate issued by Bernar Venet Studio Archives signed by the artist. Measurements: 7 x 12 x 12 cm. This work whose upper area reads "point", was the piece chosen to illustrate the catalog of Bernar Venet's exhibition "L'hypothèse du point", which took place at the Espace Jacques Villeglé in Saint-Gratien, spring 2014. For the show, Bernar Venet created a series of large sculptures, points that at first glance seem disproportionate, but which question scale and remind us that, seen from the sky, they are once again the smallest conceivable portion of space. Lines and dots have been the backbone of Bernar Venet's most emblematic proposals. The randomness referred to in the title of this work refers to the artist's interest in questioning mathematical and social determinism, introducing unpredictability and creative chaos. However, underlying her works is a structured plan, with which she is interested in underlining the irresolvable paradox between both principles: chance and determination, order and disorder. Cosmos and chaos are the yin and yang of creation. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog is published (with a text by Maurice Fréchuret). 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Piguet, Guy Boyer and Catherine Francblin. The Coal Pile (1963) celebrates its 60th anniversary with four presentations of it in France, at 109 in Nice (with an exhibition showing the artist's works from 1963 onwards), at the Musée Fabre in Montpellier, at the Château de Montsoreau in the Loire Valley (where the artist's conceptual period will also be shown), at the Verrière de Meisenthal (alongside two imposing sculptures) and, finally, one in Luxembourg, at Ceysson & Bénétière. At the Fondation Venet, an impressive installation welcomes summer visitors: a large sculpture with a 6-meter subway structure (in collaboration with architect Charles Berthier).

Estim. 8 000 - 10 000 EUR

Lot 50 - BERNAR VENET (Château-Arnoux-Saint-Auban, France, 1941). "Point 18 cm", 1994-2009. Set of two pieces in waxed steel cut with a blowtorch. Attached certificate issued by Bernar Venet Studio Archives signed by the artist. Measurements: 10 x 18 cm. This work consisting of two waxed steel sculptures on the upper part of which one can read "point", was the piece chosen to illustrate the catalog of Bernar Venet's exhibition "L'hypothèse du point", which took place at the Espace Jacques Villeglé in Saint-Gratien, in the spring of 2014. For the show, Bernar Venet created a series of large sculptures, points that at first glance seem disproportionate, but which question scale and remind us that, seen from the sky, they are once again the smallest conceivable portion of space. This was the first time that an exhibition and a catalog were devoted entirely to the dots and their variations, capital works in Bernar Venet's creative corpus. In this particular piece, the artist creates a double affirmation, or reaffirmation, not only through form, but also through words. Just as Magritte played with the viewer by telling him that it was not a pipe, Venet leaves no room for doubt about the form and the idea of the point. Bernar Venet was born in Alpes-de-Haute-Provence but has lived and worked in New York since 1966. His work has explored a variety of media - sculpture, painting, photography, film, performance, music and design - but always maintaining the desire for his works to generate questions and bring something new to the art world. In 2011 the sculptor installed monumental works in the gardens of Versailles1 and in the domaine de Marly. Venet's work is part of the collection of prestigious museums such as The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington; The Hirshhorn Museum and Sculpture Garde, Washington and The Museum of Contemporary Art, Chicago. To date, he has more than 30 monumental works and public sculptures installed in cities around the world such as Paris, Berlin, Tokyo and Denver. He has participated in documenta 6 and the 56th Venice Biennale. Throughout his career he has received numerous awards including the Grand Prix des Arts de la Ville de Paris, the decoration as Chevalier de la Légion d'Honneur and the International Sculpture Center's 2016 Lifetime Achievement. Recent events: 2021 Major exhibition "L'hypothèse de la gravité" at the Louvre-Lens during the summer, and the RELIEFS exhibition at the Galerie der Stadt Tuttlingen in Germany. Numerous publications this year, starting with the Louvre-Lens exhibition catalog published with Skira, as well as books on the Tas de charbon (Pile of charcoal), a study of Venet's work on paper (Dessins), a catalog raisonné on the artist's entire photographic oeuvre and, finally, a book on the Venet Foundation. Year 2022: a five-month retrospective covering the artist's career from 1961 to 2021, focusing on performances, paintings and sculptures, on 8,000 m2, at the Tempelhof Kunsthalle in Berlin. A catalog of the exhibition is published by éditions Dilecta. Publication of the biography Bernar Venet. Toute une vie pour l'art, by Catherine Francblin (éditions Gallimard), and a catalog raisonné on the artist's photographic work (éditions Marval-Rue Visconti) accompanied by photographic prints in his gallery. The exhibition "Si les canards pataugent alors 5 est un nombre premier" at the Centre International de Poésie de Marseille (CIPM), curated by director Michaël Batalla, is followed by poetry readings and a conference. Exhibition at Waddington Custot (London) with Venet's work on angles. Exhibition at Kasmin (New York), where he performs the piece Accident, and for which an exhibition catalog (with a text by Maurice Fréchuret) is published. 2023 Exhibitions at Perrotin's three Parisian galleries, where Venet presents new paintings, GRIBS, works on paper, as well as a double installation of Arches in Place Vendôme (curated by Jérôme Sans), followed by lectures with Thierry Raspail, Philippe Piguet, Guy Boyer and Catherine Francblin. The Coal Pile (1963) celebrates its 60th anniversary with four presentations of it in France, at 109 in Nice (with an exhibition showing the artist's works from 1963 onwards), at the Musée Fabre in Montpellier, at the Château de Montsoreau in the Loire Valley (where the artist's conceptual period will also be shown), at the Verrière de Meisenthal (alongside two imposing sculptures) and, finally, one in Luxembourg, at Ceysson & Bénétière. At the Fondation Venet, an impressive installation welcomes summer visitors: a large sculpture with a 6-meter subway structure (in collaboration with the architect Charles Berthier).

Estim. 25 000 - 30 000 EUR

Lot 51 - DAMIEN HIRST (Bristol, UK, 1965). "Rhodotorulic Acid," 2011-2012. Woodcut, copy 26/55. Signed in the lower right corner. Justified on verso. Framing label on verso. Measurements: 16 x 15.5 cm; 22 x 22 cm (frame). The etching "Rhodotorulic Acid" belongs to Damien Hirst's well-known series entitled "Spot Prints". It features a single spot of color meticulously placed on a white background. The essentialist appearance of the work embodies key aspects of Hirst's artistic approach: scientific references, minimalism, seriality and randomness. The circular form evokes infinity and eternity, life and death being part of the same cycle. At the same time, they refer to cells and their mutations. Also, the title refers to a real organic compound, a red pigment produced by a fungus. This connection with science and nature is a hallmark of Hirst's work, who often explores the relationship between art and the natural world, the micro and the macro, as well as dreams of immortality. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect; wrapped in an aura of romanticism, he made revolutionizing the art world look easy. Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.

Estim. 6 000 - 8 000 EUR

Lot 52 - DAMIEN HIRST (Bristol, UK, 1965). "Ala-Met," 2011-2012. Woodcut, specimen 44/55. Signed in the lower right corner. Justified on verso. With framing label on verso. Measurements: 79 x 73 cm; 87 x 70 cm (frame). "Ala-Met" is a woodcut print by Damien Hirst belonging to his "40 Woodcut Spots" series, created in 2011. It is characterized by its minimalism and its visual play with repetition and color. Conceptually, it is an ironic yet profound commentary on the pharmaceutical industry, the massive use of pills of all colors to save us from any kind of ailment, etc. This connection between science and minimal abstraction is a hallmark of Hirst's work, who often explores themes linked to human vanity and our puerile dreams of immortality. For the original series of pharmaceutical paintings, Hirst invented a grid with a single rule: in each work, all colors could be used only once. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect; wrapped in an aura of romanticism, he made revolutionizing the art world look easy. Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.

Estim. 20 000 - 25 000 EUR

Lot 53 - DAMIEN HIRST (Bristol, UK, 1965). "Ethylamine," 2011-2012. Woodcut, copy 26/55. Signed in the lower right corner. Justified on the back. Measurements: 29 x 43 cm; 36 x 50 cm (frame). From the beginning of his career, Hirst was interested in the possibilities of printmaking and multiple imaging, with the intention of transcending the minimalist legacy and placing the hottest contemporary issues in the limelight. The stain paintings he first introduced in 1988 offered a natural subject for printmaking. For the original series of pharmaceutical paintings, Hirst invented a grid with a single rule: in each work, all colors could be used only once. As etchings, the stains seduce with the exuberance of their colors, although the process itself is technically demanding and laborious, as each stain must be individually inked before printing. The titles of each spot come from chemicals used in the pharmaceutical industry. The underlying idea in this series is the critical commentary on the role that science has assumed as the new god that promises us eternal youth and health. The essentialist appearance of the prints in the "Spot Prints" series embodies key aspects of Hirst's artistic approach: scientific references, minimalism, seriality and randomness. The circular form evokes infinity and eternity, life and death being part of the same cycle. Damien Hirst was born in Bristol on June 7, 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect; wrapped in an aura of romanticism, he made revolutionizing the art world look easy. Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.

Estim. 20 000 - 22 000 EUR

Lot 54 - CHRISTOPHER MAKOS (Lowell, Massachusetts, USA, 1948). "Basquiat". Photograph, copy 38/250. Hand signed and justified. Measurements: 48 x 37.5 cm; 60 x 50 cm (frame). Christopher Makos met Basquiat through Warhol in the early 1980s. Makos frequented the most alternative and advanced circles in New York at the time. With this portrait, Makos bequeathed to posterity an immortal image of the high point of the great New York graffiti artist's short life. Makos was able to capture the essence of the people he portrayed, most of whom were important figures of the society of the time, such as Truman Capote, Liz Taylor, John Lennon and Mick Jagger. He usually took the pictures in his studio, but giving great prominence to the figures, capturing their essence. Christopher Makos is remembered, among other things, for being the person who introduced Warhol to the Polaroid universe. He is a legendary figure in New York. Although born in Massachusetts, he grew up in California and then settled in New York City in the 1960s. He went to Europe, to Paris, to study architecture, but contact with Man Ray led him to photography. Back in the United States, he settled in New York, in the West Village. He collaborated closely with Andy Warhol, whom he taught to use his first camera. He also brought Warhol into contact with the work of Jean-Michel Basquiat and Keith Haring. Warhol called Makos "the most modern photographer in the United States". Makos' close friendship with Warhol and their extensive travels together are reflected in Makos' book Warhol: A Photographic Memoir (New American Library). Makos' works are in the permanent collections of more than one hundred museums, have been exhibited in galleries and museums in the United States, Europe and Japan, and have appeared in numerous publications around the world, including Interview, Rolling Stone, House & Garden, Connoisseur, New York Magazine, Esquire, Genre and People. Some collectors such as Malcolm Forbes, Pedro Almodovar or Gianni Versace own his works.

Estim. 1 500 - 1 800 EUR

Lot 55 - GILBERT & GEORGE; GILBERT PROESCH (Italy, 1943) and GEORGE PASSMORE (UK, 1942). "Thief", 2011, "London Pictures" series. 4 pieces mounted on a wooden panel with rails forming part of the set. Unique piece. Rear with labels with title, date, position and care instructions. Panel #4 is signed and dated in the lower right corner. Attached certificate issued by Jean Bernier & Marina Eliades stating that the piece was exhibited at the Bernier/Eliades Gallery in Athens in 2012. Measurements: 76 x 73.5 cm (each panel); 151 x 127 cm (total). Thief, Sex, Bomb, Banks, Stabbed... these are the key words that the brilliant duo Gilbert and George highlight in blood red in the different series that are part of "London Pictures", grouping them by themes. Striking colors for tabloid expressions form a repetitive design in whose margins appear the effigies of both artists as clueless testimonials. They form a mural of fragmentary news, a mosaic of scandals and sorrows of our society. The series was created by sorting and classifying by subject matter nearly 4,000 newspaper headline posters, stolen by the artists over several years. Michael Bracewell writes about "London Pictures": "Based directly on the everyday life of a big city, London Pinctures allow contemporary society to tell its own story in its own language. In the urban landscape of this moral audit, Gilbert & George seem to pass as ghosts and seers, alternately watchful and distracted, as if their spirits haunt the very streets and buildings these pictures depict. They seem to comprise a great visual novel, revealing without judgment the relentless relay of urban drama, in all its gradations of hope and suffering." Gilbert and George is a British artist couple composed by Gilbert Proesch and George Passmore, who have developed their work within conceptual art, performance and body art, being famous mainly for acting as "living sculptures". They met as students at St. Martin's School of Art in London, and since 1968 they have been living together and working professionally as an artistic duo. One of their first works was The Singing Sculpture (1969), in which the pair of artists danced and sang Underneath the Arches, a musical hit from the 1930s. Since then they have forged a solid reputation as living sculptures, turning themselves into works of art, exhibited for various lengths of time for public viewing. They usually appear impeccably dressed in suits and ties, adopting various postures in which they remain immobile, although sometimes they also move or read some text, and sometimes appear in assemblies or installations of various kinds. In addition to their "sculptural" facet, Gilbert and George also produce pictorial works, collages and photomontages, where they often represent themselves, along with various elements of their immediate environment, with references to urban culture and a strong vindictive component, where they address issues such as sex, race, death and AIDS, religion or politics, often criticizing the British government and the established power. In this sense, their most prolific and ambitious series has been Jack Freak Pictures, where the red, white and blue colors of the British flag have a constant presence. Gilbert and George have exhibited in some of the best museums and galleries in the world, such as the Stedelijk van Abbemuseum in Eindhoven (1980), the Hayward Gallery in London (1987), the Tate Modern (2007), etc. They have participated several times in the Documenta in Kassel (5, 6 and 7), and in 2005 they represented their country at the Venice Biennale. In 1986 they were winners of the Turner Prize.

Estim. 65 000 - 75 000 EUR

Lot 56 - JEAN MICHEL FOLON (Belgium, 1934 - Monaco, 2005). "Quarante et unième pensée", 2002, Empire State building. Sculpture in patinated bronze. Exemplary 1/8. Signed on the top of the base. Enclosed certificate issued by the Folon Foundation. Measurements: 200 x 40 x 35 cm. In this sculpture Folon creates an anonymous character that seems lost in an undefined and absurd world. His head is covered by an American skyscraper, specifically by the Empire State Building, preventing the alienated protagonist from observing and understanding what is happening around him. Belgian painter, illustrator and sculptor, Jean-Michel Folon studied architecture at the Institut Saint-Luc in Brussels, and in 1969 held his first solo exhibition of watercolors at the Lefebre Gallery in New York. The following year he exhibited in Tokyo and Milan, and also participated in the Venice Biennale. Already fully recognized internationally, he will take part in outstanding competitions such as the São Paulo Biennial of 1973, where he will win the Grand Prize for Painting. Throughout his career, Folon worked with various illustration techniques, as well as engraving, silkscreen, mosaic and enameled glass. He also created numerous posters, many of them for humanitarian causes. Important museums have dedicated exhibitions to him, including the Decorative Arts Museum in Paris (1971), the Boymans van Beuningen Museum in Rotterdam (1976), the Institute of Contemporary Arts in London (1977), the Metropolitan Museum in New York (1990) and the Bunkamura Museum in Tokyo (1995), among others. He is currently represented in public and private collections around the world.

Estim. 90 000 - 100 000 EUR

Lot 57 - WILLIAM SWEETLOVE (Ostend, Belgium, 1949). "Cloned light blue hare with rucksack", 2010. Synthetic resin painted blue. Exemplary 1/33. Signed on one of the legs. Certificate attached. Measurements: 140 x 100 x 65 cm. Round sculpture representing a monumental rabbit with a backpack on his back finished with a final blue patina. The expressiveness of this work is shown to the viewer through a language of kitsch character, very recurrent in the aesthetics of post pop. For this, the artist starts from a recognizable image that he reinterprets from a personal style, thus creating a resignification of the piece. Both the color, the monumentalization and the material, synthetic resin, bring us closer to the idea of mass production, industrialization and commodification, thus blurring the line between art and mass production. Between high and low culture and how the growing consumerism of society blurs this barrier. William Sweetlove draws on the superficial, through a series of variations on the same theme, with which he manages to create friction between the artificial and the substantial, completely blurring the boundaries between toy and work of art. William Sweetlove of Belgian origin is known for his work close to Dadaism and Surrealism. His works have been classified as pop art, humorous sculptures that at first glance may seem "kitsch". However, a closer look at his art reveals its role as a creative antidote to the overproduction and overconsumption of our society. With his cloned animals, William Sweetlove seeks to awaken a greater ecological awareness and urges us to reflect on the consequences of the climate change that challenges humanity. From his fascination with fossils, Sweetlove developed the need to investigate through his art. William Sweetlove has exhibited at art fairs, galleries and museums around the world. His works are in several private art collections. He has also participated in different artistic manifestations worldwide with the Italian group Cracking Art, whose name refers to the towers used for oil refining. This group is known for its large plastic sculptures, created as a criticism of the consumption of today's society. The discovery and commercialization of polyester inspires Sweetlove to create all kinds of everyday objects to preserve them for the future. He makes art objects out of bread, vegetables and fashionable clothes, all of which symbolize transience. He also takes pictures of himself and especially of his grandmother who, like every actress, portrays all kinds of scenes that she does for the first time in her life. Later the prints were smeared with plastic resin and buried in wooden boxes. Ten years later they were excavated by archaeologists.

Estim. 8 000 - 10 000 EUR

Lot 58 - WILLIAM SWEETLOVE (Ostend, Belgium, 1949). "Blue Rabbit". Synthetic resin painted blue. Measurements: 2,20 x 2 x 1 m. Round sculpture representing a monumental rabbit with a final patina of bright blue. The expressiveness of this work is shown to the viewer through a language of kitsch character, very recurrent in the aesthetics of post pop. For this, the artist starts from a recognizable image that he reinterprets from a personal style, thus creating a resignification of the piece. Both the color, the monumentalization and the material, synthetic resin, bring us closer to the idea of mass production, industrialization and commodification, thus blurring the line between art and mass production. Between high and low culture and how the growing consumerism of society blurs this barrier. William Sweetlove draws on the superficial, through a series of variations on the same theme, with which he manages to create friction between the artificial and the substantial, completely blurring the boundaries between toy and work of art. William Sweetlove of Belgian origin is known for his work close to Dadaism and Surrealism. His works have been classified as pop art, humorous sculptures that at first glance may seem "kitsch". However, a closer look at his art reveals its role as a creative antidote to the overproduction and overconsumption of our society. With his cloned animals, William Sweetlove seeks to awaken a greater ecological awareness and urges us to reflect on the consequences of the climate change that challenges humanity. From his fascination with fossils, Sweetlove developed the need to investigate through his art. William Sweetlove has exhibited at art fairs, galleries and museums around the world. His works are in several private art collections. He has also participated in different artistic manifestations worldwide with the Italian group Cracking Art, whose name refers to the towers used for oil refining. This group is known for its large plastic sculptures, created as a criticism of the consumption of today's society. The discovery and commercialization of polyester inspires Sweetlove to create all kinds of everyday objects to preserve them for the future. He makes art objects out of bread, vegetables and fashionable clothes, all of which symbolize transience. He also takes pictures of himself and especially of his grandmother who, like every actress, portrays all kinds of scenes that she does for the first time in her life. Later the prints were smeared with plastic resin and buried in wooden boxes. Ten years later they were excavated by archaeologists.

Estim. 8 000 - 10 000 EUR

Lot 59 - WILLIAM SWEETLOVE (Ostend, Belgium, 1949). "Red Rabbit". Synthetic resin painted red. Measurements: 2 x 2,30 x 1 m. Round sculpture representing a monumental rabbit with a final bright red patina. The expressiveness of this work is shown to the viewer through a language of kitsch character, very recurrent in the aesthetics of post pop. For this, the artist starts from a recognizable image that he reinterprets from a personal style, thus creating a resignification of the piece. Both the color, the monumentalization and the material, synthetic resin, bring us closer to the idea of mass production, industrialization and commodification, thus blurring the line between art and mass production. Between high and low culture and how the growing consumerism of society blurs this barrier. William Sweetlove draws on the superficial, through a series of variations on the same theme, with which he manages to create friction between the artificial and the substantial, completely blurring the boundaries between toy and work of art. William Sweetlove of Belgian origin is known for his work close to Dadaism and Surrealism. His works have been classified as pop art, humorous sculptures that at first glance may seem "kitsch". However, a closer look at his art reveals its role as a creative antidote to the overproduction and overconsumption of our society. With his cloned animals, William Sweetlove seeks to awaken a greater ecological awareness and urges us to reflect on the consequences of the climate change that challenges humanity. From his fascination with fossils, Sweetlove developed the need to investigate through his art. William Sweetlove has exhibited at art fairs, galleries and museums around the world. His works are in several private art collections. He has also participated in different artistic manifestations worldwide with the Italian group Cracking Art, whose name refers to the towers used for oil refining. This group is known for its large plastic sculptures, created as a criticism of the consumption of today's society. The discovery and commercialization of polyester inspires Sweetlove to create all kinds of everyday objects to preserve them for the future. He makes art objects out of bread, vegetables and fashionable clothes, all of which symbolize transience. He also takes pictures of himself and especially of his grandmother who, like every actress, portrays all kinds of scenes that she does for the first time in her life. Later the prints were smeared with plastic resin and buried in wooden boxes. Ten years later they were excavated by archaeologists.

Estim. 8 000 - 10 000 EUR

Lot 60 - DENMARK (Belgium, 1950). "Fake library 8.01.14. Working title: Mirror", 2014. Mirror with books. Attached certificate signed by Guy Pieters. Measurements: 95 x 43 x 2.5 cm. With his assemblage sculptures like the one shown here, Denmark explores visually and conceptually the information overload and the ephemeral and labile nature of news. The artist himself writes, "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many old exams and papers gather dust in school attics?" For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for the essence. Denmark, pseudonym of Marc Robbroeckx, is a Belgian artist known for his paintings, sculptures and installations that often use newspapers and other media. He made his debut in the art world in 1968. His artistic career gained momentum in the late seventies and eighties. He conceived the name "Denmark" as an acronym for "Pan American Airlines and Company" reflecting his early fascination with travel and media. Denmark's innovative use of recycled materials and his provocative commentary on contemporary society has positioned him as a notable figure in Belgian art today. Denmark's work has been exhibited in numerous galleries and museums internationally, including the Design Museum in Brussels. The record price for a Denmark work sold at auction was $73,958 for "Dead Letters (B.13.78)" in 2022.

Estim. 9 000 - 10 000 EUR

Lot 61 - DENMARK (Belgium, 1950). "Fake library 7.01.14. Working title: Mirror", 2014. Mirror with books. Attached certificate signed by Guy Pieters. Measurements: 95 x 43 x 2.5 cm. With his assemblage sculptures like the one shown here, Denmark explores visually and conceptually the information overload and the ephemeral and labile nature of news. The artist himself writes, "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many old exams and papers gather dust in school attics?" For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for the essence. Denmark, pseudonym of Marc Robbroeckx, is a Belgian artist known for his paintings, sculptures and installations that often use newspapers and other media. He made his debut in the art world in 1968. His artistic career gained momentum in the late seventies and eighties. He conceived the name "Denmark" as an acronym for "Pan American Airlines and Company" reflecting his early fascination with travel and media. Denmark's innovative use of recycled materials and his provocative commentary on contemporary society has positioned him as a notable figure in Belgian art today. Denmark's work has been exhibited in numerous galleries and museums internationally, including the Design Museum in Brussels. The record price for a Denmark work sold at auction was $73,958 for "Dead Letters (B.13.78)" in 2022.

Estim. 10 000 - 12 000 EUR

Lot 62 - DENMARK (Belgium, 1950). "Horizontaal versneden boeken ingewerkt in stukken plank", 1998. Wood and paper. Set of 9 pieces. One is signed and dated on the back. Each piece is numbered. Measurements: 45 cm (height). 14 cm (width piece 1); 9.5 cm (width piece 2); 16 cm (width piece 3); 12.5 cm (width piece 4); 17 cm (width piece 5); 17.5 cm (width piece 6); 18 cm (width piece 7); 15.5 cm (width piece 8) and 16.5 cm (width piece 9). The works of "Denmark" symbolize the consequences of our culture of waste, suggesting a way to cope with the incessant flood of information. By turning printed products into art, he combines traditional forms of conservation, with forms of disposal that include spraying, cutting and burning. Since the early 1970s, "Denmark" has cut up, dissected and (re)assembled books, magazines and newspapers. His "archival installations" are a critical reaction to the information overload we are confronted with on a daily basis. The artist himself writes: "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many old exams and papers gather dust in school attics?" For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for the essence. Denmark, pseudonym of Marc Robbroeckx, is a Belgian artist known for his paintings, sculptures and installations that often use newspapers and other media. In 1972 he completed his studies in art history and archaeology at the University of Ghent. He made his debut in the art world in 1968 and in 1977, his newspaper clippings won him the Young Belgian Painting Competition Prize (Brussels, Palace of Fine Arts). His artistic career gained momentum in the late seventies and eighties. He conceived the name "Denmark" as an acronym for "Pan American Airlines and Company" reflecting his early fascination with travel and the media. Denmark's innovative use of recycled materials and his provocative commentary on contemporary society have positioned him as a notable figure in Belgian art today. Denmark's work has been exhibited in numerous galleries and museums internationally, including the Design Museum in Brussels. The record price for a Denmark work sold at auction was $73,958 for "Dead Letters (B.13.78)" in 2022. Currently his work belongs to numerous collections of great artistic relevance among which are; The Art Museum of Ahlen, Antwerp M HKA, Museum of Contemporary Art, Belgian Art Center Phillip Ingrid, Museum of Bremen Weserburg, Royal Museums of Fine Arts Brussels, Museum of Contemporary Art Eupen Eupen, the Library of Genk, Museum of Ghent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain. Guislain, Municipal Museum of Contemporary Art of Ghent, Museum of Ixelles, the Central Library of Leuven, the Madrid ARCO Foundation Contemporary Art Collection and the Bibliothèque Nationale de Paris, among others.

Estim. 26 000 - 28 000 EUR

Lot 63 - JAN FABRE (Antwerp, Belgium, 1958). "C'ôte D'Ôr, A Tribute to Begian Congo", 2010. Collage (jewel beetle wings) on wood. Attached certificate signed by Guy Pieters. Measurements: 218 x 165 cm; 228 x 175 x 8 cm (frame). "Gold Coast" refers us to an Edenic and unreal place guarded by an elephant, an animal linked to good fortune in all cultures. Jan Fabre has used beetle wings to create a subjugating tapestry. Beetle wings are a recurring motif in Fabre's work. They symbolize ideas linked to metamorphosis, spiritual transformation, beauty and the ephemeral nature of life. As for the Edenic theme, the artist often raises with a variety of language the possibility of utopia. Jan Fabre is a playwright, stage director, choreographer and visual artist. He studied at the Municipal Institute of Decorative Arts in Antwerp and at the Royal Academy of Fine Arts. Between 1976 and 1980 he wrote his first texts for the theater. In 1978 he made drawings with his own blood during the solo performance My Body, My Blood, My Landscape. In 1980 he made the "Bic-Art Room", as an opposition to "Big Art"; he locked himself for three days and three nights in a white cube filled with objects, drawing with blue Bic pens. In 1986 he founded Troubleyn/Jan Fabre, a theater company with extensive international projection. He has been a member of the Royal Flemish Academy of Sciences and Arts of Belgium since 1998 and is a Commander of the Order of Leopold II. In 2008, The Angel of Metamorphosis was exhibited at the Louvre Museum, an exhibition inaugurated by Queen Paola of Belgium. He decorated the ceiling of the Hall of Mirrors of the Royal Palace in Brussels, which he called Heaven of Delights, made of 1600,000 beetle-beetle elytra, which has been widely praised. He also made Totem, a sculpture of a giant insect pierced by a huge twenty-three-meter steel spire, at the Ladeuzeplein in Leuven. The sculpture was erected in 2005 to commemorate the 575th anniversary of the historic Leuven University Library.

Estim. 180 000 - 200 000 EUR

Lot 64 - JAN FABRE (Antwerp, Belgium, 1958). "De man die de wolken meet", 1998. Bronze sculpture. Exemplary M. P. 7/8. Signed and numbered on the ruler. Stamp of Art Casting Belgium. Attached certificate signed by the artist. Measurements: 298 x 120 x 80 cm. "The man who measures the clouds" is a monumental piece that overflows with poetry. It also leads to biographical reflections of the artist himself. The character who "measures the clouds" (who insists on impossible enterprises) is inspired by the artist's brother, who died prematurely. The features coincide with those of the artist, so that in a way the self-portrait merges with the identity of his brother. This sculpture could be seen at the Venice Biennale, 2019 edition. It was visible from the Accademia Bridge, next to the Grand Canal. The first verison he created in 1998, a life-size realistic sculpture, in polished and shiny bronze, of a man standing on a ladder with a ruler in his hand measuring the clouds. In addition to paying homage to his brother's dreamy character, it expresses the feeling of wanting to master the ineffable, which is innate in every artist. As Fabre stated in an interview "The figure symbolizes my craft. The artist's attempt to control things, but it never goes as planned. The artist measures: he establishes connections - mental, physical, political and philosophical relationships. I constantly measure these kinds of relationships, it's my duty as an artist." Ultimately, the title also refers to the Birdman of Alcatraz, who in the movie based on his life, the character played by Burt Lancaster, declares upon his release from prison: "Now I'm going to measure clouds". Jan Fabre is a playwright, stage director, choreographer and visual artist. He studied at the Municipal Institute of Decorative Arts in Antwerp and at the Royal Academy of Fine Arts. Between 1976 and 1980 he wrote his first texts for the theater. In 1978 he made drawings with his own blood during the solo performance My Body, My Blood, My Landscape. In 1980 he made the "Bic-Art Room", as an opposition to "Big Art"; he locked himself for three days and three nights in a white cube filled with objects, drawing with blue Bic pens. In 1986 he founded Troubleyn/Jan Fabre, a theater company with extensive international projection. He has been a member of the Royal Flemish Academy of Sciences and Arts of Belgium since 1998 and is a Commander of the Order of Leopold II. In 2008, The Angel of Metamorphosis was exhibited at the Louvre Museum, an exhibition inaugurated by Queen Paola of Belgium. He decorated the ceiling of the Hall of Mirrors of the Royal Palace in Brussels, which he called Heaven of Delights, made of 1600,000 beetle-beetle elytra, which has been widely praised. He also made Totem, a sculpture of a giant insect pierced by a huge twenty-three-meter steel spire, at the Ladeuzeplein in Leuven. The sculpture was erected in 2005 to commemorate the 575th anniversary of the historic Leuven University Library.

Estim. 400 000 - 450 000 EUR

Lot 65 - DAVID LACHAPELLE (Hartford, Connecticut, 1963). "Rebirth of Venus", 2009. Inktjet print on dibond. Edition 3/3 + 2 A.P. With labels on the back of David Lachapelle Studio and Maruani Mercier Gallery. Enclosed certificate issued by Maruani Mercier Gallery. Measurements: 153 x 118 cm; 164 x 128,5 x 6,5 cm (frame). With his "Renaissance of Venus", David LaChapelle reinterprets Botticelli's "Birth of Venus" in a modern and ironic key. Several elements remain, but are recombined with humor and wit to slip other readings. The large shell on which the Renaissance Aphrodite floated is dwarfed to be held by the left hand of a lesser goddess ("Nike," the mark of the shoe is imprinted on the foot of the gender-fluid nymph), who takes the shell and covers Venus' pubis. This emulates the attitude of the Venus pudica. To the right of the goddess of love, an exotic Zephyr uses a conch shell to produce the breeze that inaugurates the magical moment of genesis. The group gathers in a landscape exultant with greenery and vibrant colors. LaChapelle has been as captivated by beauty as the great Renaissance painters, and has dedicated his life to redefining those ideals of beauty and desire, which become multiple and polymorphous. LaChapelle's career began in a significant way in 1982, when Andy Warhol prompted him to publish his "Interview" photographs. "Andy Warhol corresponds perfectly to his time," says the photographer, "He is without a doubt a great artist of the 20th century. He was very generous and I learned a lot from him, but we belong to two different generations and have different ideas. The most valuable art today is that which manages to clarify the time in which we live, and that's what I try to do." David LaChapelle's wacky, bizarre and fantastic images have appeared on the pages and covers of Vogue, Rolling Stone, i-D, Vibe, Interview, The Face and GQ magazines, just to name a few. His style is unique and recognizable, he works with open shots, fresh and extremely colorful scenes showing his pop-art style. His shots have a meticulous and detailed work, working with the physical aspect of the character taking it almost to caricature. "I try to take pictures that I've never seen before," LaChapelle says. Talented creative, he plays with fictitious and grotesque scenes, mostly artificial and has an excellent production, the images are generally at the time of shooting, with little post-production. We can also see in his work the criticism of the society in which we live full of excesses and vanity. His unconditional dedication to originality is legendary in the world of fashion, film and advertising. LaChapelle has participated in advertising campaigns for a variety of clients including L'Oreal, Iceberg, MTV, Ecko, Diesel Jeans, Sirius, Ford, Sky Vodka, Cervecería Cuahtemoc Moctezuma and the Got Milk? campaign. David has photographed numerous album covers for artists such as Macy Gray, Moby, No Doubt, Whitney Houston, Elton John, Christina Aguilera, Madonna and Kylie Minogue. His successful first book, LaChapelle Land, was published in 1996 by Collaway Publishing, bringing within its extravagant packaging, an explosive collection of portraits of celebrities and models, including Lady Gaga, Madonna, Shakira, Leonardo DiCaprio, Pamela Anderson, Uma Thurman, Marilyn Manson, Mark Wahlberg, Drew Barrymore and Elton John. The successor to this debut was the book Hotel LaChapelle, also published by Collaway in 1999, which showcases fresh images with unforgettable colors. LaChapelle continues to produce photographs that confront our visual tastes, taking a fresh look at today's landscape.

Estim. 80 000 - 90 000 EUR

Lot 66 - DAVID LACHAPELLE (Hartford, Connecticut, 1963). "Seismic Shift," 2012. Chromogenic print on dibond, copy 4/5. Enclosed certificate signed by David Lachapelle Studio. Measurements: 90 x 220 cm; 100 x 230 x 6 cm (frame). "Seismic Shift" is a corrosive look at the current state of the art world and the art market, referencing themes such as transience, decadence and consumerism. The photograph depicts a partially destroyed contemporary art museum housing badly damaged iconic works by artists such as Jeff Koons, Andy Warhol, Damien Hirst and Takashi Murakami. These artists represent the exorbitant prices of today's art market, corresponding to the global demand among billionaire buyers for whom art is a brand. "Seismic Shift" raises critical questions about the limited lifespan of a work of art. It is considered one of LaChapelle's most outstanding works. LaChapelle's career began significantly in the year 1982, when Andy Warhol prompted him to publish his "Interview" photographs. "Andy Warhol corresponds perfectly to his time," says the photographer, "He is certainly a great artist of the 20th century. He was very generous and I learned a lot from him, but we belong to two different generations and have different ideas. The most valuable art today is that which manages to clarify the time in which we live, and that's what I try to do." David LaChapelle's wacky, bizarre and fantastic images have appeared on the pages and covers of Vogue, Rolling Stone, i-D, Vibe, Interview, The Face and GQ magazines, just to name a few. His style is unique and recognizable, he works with open shots, fresh and extremely colorful scenes showing his pop-art style. His shots have a meticulous and detailed work, working with the physical aspect of the character taking it almost to caricature. "I try to take pictures that I've never seen before," LaChapelle says. Talented creative, he plays with fictitious and grotesque scenes, mostly artificial and has an excellent production, the images are generally at the time of shooting, with little post-production. We can also see in his work the criticism of the society in which we live full of excesses and vanity. His unconditional dedication to originality is legendary in the world of fashion, film and advertising. LaChapelle has participated in advertising campaigns for a variety of clients including L'Oreal, Iceberg, MTV, Ecko, Diesel Jeans, Sirius, Ford, Sky Vodka, Cervecería Cuahtemoc Moctezuma and the Got Milk? campaign. David has photographed numerous album covers for artists such as Macy Gray, Moby, No Doubt, Whitney Houston, Elton John, Christina Aguilera, Madonna and Kylie Minogue. His successful first book, LaChapelle Land, was published in 1996 by Collaway Publishing, bringing within its extravagant packaging, an explosive collection of portraits of celebrities and models, including Lady Gaga, Madonna, Shakira, Leonardo DiCaprio, Pamela Anderson, Uma Thurman, Marilyn Manson, Mark Wahlberg, Drew Barrymore and Elton John. The successor to this debut was the book Hotel LaChapelle, also published by Collaway in 1999, which showcases fresh images with unforgettable colors. LaChapelle continues to achieve photographs that confront our visual tastes, taking a fresh look at today's landscape.

Estim. 40 000 - 45 000 EUR

Lot 67 - MATT HENRY (England, 1978). "Alabama's Here-Twin Palms," 2017. Archival pigment print, specimen 1/6. Museum glass. Measurements: 50 x 76 cm; 55.5 x 81 cm (frame). Matt Henry performs narratives of cinematic aesthetics in color from a series of staged photographs inspired by 1960s America. In the artist's own words, "I remember this era as a curiosity of magical beings that pranced and glowed on television reruns on the days I was out of school ... Staging photographic narratives is very much like psychodrama; a way of exploring the virtues and hopes, the flaws and fears, that bring us close to the shores of utopia and then cruelly pull us back. To reimagine is to step out of history and into potentiality, and it is here that my photographs exist, not as death masks of a lost era, but as narrative bridges to a new one. British photographer, lives and works in Brighton. He graduated from Nottingham with a degree in political science, after which he turned towards photographic art. In 2014, he completed an MA in photography at the University of Brighton. Selection of recent solo exhibitions: 2025 'Palms', Polka Galerie, Paris, France 2018 'Southern Gothic and other Tales', Polka Galerie, Paris, France 2016 'The Journey', Polka Galerie, Paris, France. Recent group exhibitions: 2023 'Photography: Real and Imagined', NGV, Melbourne, Australia 2023 'Esprit Pop es-tu là ?', Franciscaines de Deauville, France. We the People', The Billboard Creative, Los Angeles CA, USA. 'Artists' Open Houses', Brighton and Hove, UK. 2020 "No Dead Artists," Jonathan Ferrara Gallery, New Orleans LA, USA "The Days that Follow," Polka Galerie, Paris, France 2017 "Bling Bling Baby!", NRW-Forum, Düsseldorf, Germany. Paris Photo, The Grand Palais, Paris, France. Photo London, Somerset House, London, UK. Collections: National Gallery of Victoria (NGV), Melbourne, Australia. Sondra Gilman and Celso Gonzalez-Falla Collection, New York, USA.

Estim. 2 000 - 2 500 EUR

Lot 68 - DIDIER FIÚZA FAUSTINO (Chennevières-sur-Marne, France, 1968). "Fairy tales", 2012. White melamine board and acrylic box, copy 2/3. Provenance: Michel Rein Gallery. Measurements: 170 x 130 x 12,5 cm. In this 2012 proposal, one can appreciate the multidisciplinary training of this French artist, whose work often resists to be qualified within the field of sculpture, painting, installation or design. The letters of "Fairy Tale" have been cut out and outlined on a white surface leaving a hole of visual uncertainty. The characters fall strategically on the ground, decayed, as if giving us to understand the difficulty of maintaining the illusion of childhood during maturity. Didier Fiúza Faustino is a French-Portuguese artist-architect who works on the relationship between body and space. At the crossroads of art and architecture, his practice is multifaceted and ranges from installation to experimentation, from the creation of subversive visual artworks to multisensory spaces. Her projects are characterized by their critical perspective and their ability to offer new experiences to the individual and collective body. With Mésarchitecture (2002) in Paris and his office in Lisbon (2018), he develops projects of multiple scales: interventions in public space, mobile architectures, as well as interior and building designs, including the studio of French artist Jean-Luc Moulène. Several projects and works are part of the collection of important institutions: MoMA, Fondation Calouste Gulbenkian, Fundação Serralves, Fonds National d'Art Contemporain, Musée National d'Art Moderne / Centre Georges Pompidou, MAXXI, MAAT, FRACs Centre - Val de Loire et Grand Large - Hauts de France. He is represented by the galleries Michel Rein Paris / Brussels and Filomena Soares, Lisbon.

Estim. 10 000 - 15 000 EUR

Lot 69 - LUC DRATWA (Belgium, 1958). "Door One", "Subway Series". Photograph. Measurements: 210 x 150 cm. Windows and glass doors (in this case of the subway) are the favorite themes of Luc Dratwa, photographs with an important pictorialist imprint that takes the technical possibilities to the limit. Dratwa also reflects on the classical metaphor (of Renaissance origin) of painting as a window, which he takes to the field of photography. Belgian photographer Luc Dratwa is self-taught. His art is present in international fairs and exhibitions. He currently lives and works in Brussels. He worked as editor-in-chief for the design and architecture magazine "Domino"; from a very young age he showed a passion for the arts; at first he was attracted to painting, but later he turned to photography, which soon proved to be his favorite artistic medium. Painting taught him the importance of colors and the graphic quality of composition. For him, a photograph reveals the photographer. Luc Dratwa therefore waited many years before taking the plunge, when he finally felt he was close to achieving the necessary rigor and perfection he had long sought. From that moment on, he began his career as a photographer. All the themes he explores are first and foremost a narrative transcribed on photographic paper. Since 2009, the city, and New York in particular, is his favorite subject. Its many facets offer him endless possibilities to give free rein to his creative imagination. His vision of the photographer is not limited to the click of a shutter; Luc Dratwa attaches great importance to the need to think about his works in their entirety. Every detail is carefully considered and planned by the photographer, from the photo shoot to the print, from the frame to the paper. A palpable perfectionism in each of his creations, where nothing is left to chance. From Paris to Bangkok, passing through New York, Amsterdam and even Singapore, Luc Dratwa is represented all over the world and has also participated in prestigious contemporary art fairs, such as Art Paris, Art Lille and Art India, where he reaped great success.

Estim. 14 000 - 16 000 EUR

Lot 70 - PANAMARENKO (Antwerp, Belgium, 1940-Brakel, Belgium, 2019). "Prova car," 2004. Offset color print with collage, P.A. copy. Signed and justified in lower right corner. Attached sales document from the Winwood Gallery. Measurements: 94 x 71 cm; 95 x 72 x 4,5 cm (frame). "Prova-car" is a sort of poetic version of a Formula-1 racing car, which Panamarenko made in 2004. Like a contemporary Leonardo Da Vinci, Panamarenko, a famous Belgian artist, devised fantastic flying and ground engineering devices. Panamarenko studied at the Antwerp Academy. Before 1968, his art was inspired by Pop art, and he became interested in manned flight at an early age. This interest is also reflected in his name. It is supposed to be an acronym for "Pan American Airlines and Company". From 1970, he developed his first models of imaginary vehicles, airplanes, balloons or helicopters. Many of his sculptures are modern versions of the myth of Icarus. In 1965, Panamarenko organizes the first happening in Antwerp. Two years after his debut as an artist, in 1967, Panamarenko holds his first exhibition in Antwerp at the Galerie Wide White Space and begins to build his first airplane. In 1990, already consolidated as a sculptor, he presents his first Archaeopterix (intelligent hen) made from a model of a prehistoric bird. He was present at the Documenta in Kassel in 1972. In 1973 and 1978 he mounted a large solo exhibition at the Musée d'Art Moderne de la Ville de Paris and the Neue Nationalgalerie in Berlin, respectively. In his first exhibition in Spain, at the Miró Foundation (1984) he shows his model airplane, a poetic reference to the art and science that had constituted Leonardo da Vinci's aesthetic horizon. In 2005, he receives an invitation from the Mayor of Antwerp to the City Hall Salon for his 65th birthday, where he is honored. 2006: The official Belgian newspaper publishes an article about the Panamarenko Collective, a non-profit association that promotes the artist's work. 2007: The artist donates to the Museum of Contemporary Art Antwerp (M HKA) his historic family home, with the studio and all the objects and works it contained. The museum has collaborated with the Panamarenko Collective to adapt it as a museum house or visitable art space and give a boost to contemporary Flemish culture. On April 24, 2009, VLM Airlines named one of its Fokker 50 aircraft in his honor.

Estim. 3 500 - 4 000 EUR

Lot 71 - DELPHINE BOËL; Delfina of Saxe-Coburg (Uccle, Belgium, 1968). "Never Give Up-black & red," 2020. Indian Ink and glitter on paper. Signed and dated in the lower right corner. Attached certificate of authenticity signed by the artist. Measurements: 75.5 x 39.5 cm; 87.5 x 52 cm (frame). "Never give up" is a phrase that recurs in Boël's work. In fact, in 2017, the Musee d'Ixelles in the Belgian capital dedicated a retrospective exhibition entitled "Delphine Never Give Up" to her, demonstrating the relevance of these words for the author. In an interview in the Vanguard Delphine Boël commented "I don't see words and letters like everyone else. I see them as drawings and I am aware of their potential on people. Words can make you happy or destroy you, they are among the most powerful things there are." In her drawings and collages Delphine Boël explores, in the same way as in her installations and sculptures, chromatic and compositional formulas to access the most festive and hedonistic part of the viewer. She wants to transmit a positive message, recovering the calls for peace of the sixties, thus rescuing the optimism and innocence of yesteryear. Delphine Boël is a Belgian princess and sculptor. She is the extramarital daughter of King Albert II of Belgium with Baroness Sibylla de Selys Longchamps. She trained at the Chelsea School of Art, London (1991). He has participated in numerous international exhibitions and events. Selection of recent solo exhibitions: 2023 "Love Imperfection" Bicester Collection, Maasmechelen Village, Belgium 2022 "What Is to Come Is Better Than What Was" Linda and Guy Pieters Foundation, St. Tropez, France. 2021 "I Love You. No More Blabla." Guy Pieters Gallery, Knokke, Belgium 2020 "Attitude" Guy Pieters Gallery, Knokke, Belgium 2017 "NEVER GIVE UP" Museum of Ixelles, Brussels, Belgium "Obsessed with Love" WM Gallery, Antwerp, Belgium. Delphine has practiced a wide variety of techniques, and defines herself as a color artist. In painting, video, sculpture and neon, her works are vibrant, playful and extravagant. Group exhibitions and fairs: 2023 ORNAMENTUM - Artists' Jewellery Collection of Diane Venet, Boghossian Foundation, Brussels, 2022 "If Cloths Could Talk" Markiezenhof Museum, Bergen Op Zoom, The Netherlands. Special Guest Artist, Aardenburg Biennale, Aardenburg, The Netherlands. 2021 "Bijoux D'Artistes - De Picasso a Koons" Diane Venet Collection, Grimaldi Forum, Monaco "Come What May" Aeroplastics, Brussels. 2020 "Claire-Obscure" Galerie Paul Janssen, St. Tropez, France 2019 "Habiter L'intime" Fondation Thalie, Brussels, Belgium. ART PARIS, Grand Palais, represented by The Belgian Gallery.

Estim. 14 000 - 16 000 EUR

Lot 72 - DELPHINE BOËL; Delfina of Saxe-Coburg (Uccle, Belgium, 1968). "World Economy-Special Report-Fading Interest," 2013. Mixed media on newsprint. Unique work. Signed and dated in the lower right corner. Titled, signed and dated on the back. With Espace-art22 label on the back. Measurements: 52 x 31 cm; 67 x 44 cm (frame). In Delhphine Böel's language, titles, texts and words are tremendously important and revealing. For the Belgian artist, who was born out of an extramarital affair of the emeritus King Albert II of Belgium, the onomatopoeia "bla-bla-bla-bla" initially alluded to gossip and talk of the people. However, in 2020 it took on a new meaning: before suing his father, he painted a work with the words "Blah, blah, blah, blah, blah" entitled "My duty to remain silent". Since then, the conjunction "Blah, blah, blah, blah" has become a regular feature of her production. Delphine Boël is an officially recognized princess since 2020 and a Belgian sculptor. She is the extramarital daughter of King Albert II of Belgium with Baroness Sibylle de Selys Longchamps. She trained at the Chelsea School of Art, London (1991). He has participated in numerous international exhibitions and events. Selection of recent solo exhibitions: 2023 "Love Imperfection" Bicester Collection, Maasmechelen Village, Belgium 2022 "What Is to Come Is Better Than What Was" Linda and Guy Pieters Foundation, St. Tropez, France. 2021 "I Love You. No More Blabla." Guy Pieters Gallery, Knokke, Belgium 2020 "Attitude" Guy Pieters Gallery, Knokke, Belgium 2017 "NEVER GIVE UP" Museum of Ixelles, Brussels, Belgium "Obsessed with Love" WM Gallery, Antwerp, Belgium. Delphine has practiced a wide variety of techniques, and defines herself as a color artist. In painting, video, sculpture and neon, her works are vibrant, playful and extravagant. Group exhibitions and fairs: 2023 ORNAMENTUM - Artists' Jewellery Collection of Diane Venet, Boghossian Foundation, Brussels, 2022 "If Cloths Could Talk" Markiezenhof Museum, Bergen Op Zoom, The Netherlands. Special Guest Artist, Aardenburg Biennale, Aardenburg, The Netherlands. 2021 "Bijoux D'Artistes - De Picasso a Koons" Diane Venet Collection, Grimaldi Forum, Monaco "Come What May" Aeroplastics, Brussels. 2020 "Claire-Obscure" Galerie Paul Janssen, St. Tropez, France 2019 "Habiter L'intime" Fondation Thalie, Brussels, Belgium. ART PARIS, Grand Palais, represented by The Belgian Gallery.

Estim. 4 000 - 5 000 EUR

Lot 73 - DELPHINE BOËL; Delphine of Saxe-Coburg (Uccle, Belgium, 1968). "World News Beautified page 6", 2013. Mixed media on newsprint. Unique work. Signed and dated in the lower right corner. Titled, signed and dated on the back. With Espace-art22 label on the back. Measurements: 55 x 35,5 cm; 67 x 47 cm (frame). In Delhphine Böel's language, titles, texts and words are tremendously important and revealing. For the Belgian artist, who was born out of an extramarital affair with the emeritus King Albert II of Belgium, the onomatopoeia "bla-bla-bla-bla" initially alluded to gossip and talk of the people. However, in 2020 it took on a new meaning: before suing his father, he painted a work with the words "Blah, blah, blah, blah, blah" entitled "My duty to remain silent". Since then, the conjunction "Blah, blah, blah, blah" has become a regular feature of her production. Delphine Boël is an officially recognized princess since 2020 and a Belgian sculptor. She is the extramarital daughter of King Albert II of Belgium with Baroness Sibylle de Selys Longchamps. She trained at the Chelsea School of Art, London (1991). He has participated in numerous international exhibitions and events. Selection of recent solo exhibitions: 2023 "Love Imperfection" Bicester Collection, Maasmechelen Village, Belgium 2022 "What Is to Come Is Better Than What Was" Linda and Guy Pieters Foundation, St. Tropez, France. 2021 "I Love You. No More Blabla." Guy Pieters Gallery, Knokke, Belgium 2020 "Attitude" Guy Pieters Gallery, Knokke, Belgium 2017 "NEVER GIVE UP" Museum of Ixelles, Brussels, Belgium "Obsessed with Love" WM Gallery, Antwerp, Belgium. Delphine has practiced a wide variety of techniques, and defines herself as a color artist. In painting, video, sculpture and neon, her works are vibrant, playful and extravagant. Group exhibitions and fairs: 2023 ORNAMENTUM - Artists' Jewellery Collection of Diane Venet, Boghossian Foundation, Brussels, 2022 "If Cloths Could Talk" Markiezenhof Museum, Bergen Op Zoom, The Netherlands. Special Guest Artist, Aardenburg Biennale, Aardenburg, The Netherlands. 2021 "Bijoux D'Artistes - De Picasso a Koons" Diane Venet Collection, Grimaldi Forum, Monaco "Come What May" Aeroplastics, Brussels. 2020 "Claire-Obscure" Galerie Paul Janssen, St. Tropez, France 2019 "Habiter L'intime" Fondation Thalie, Brussels, Belgium. ART PARIS, Grand Palais, represented by The Belgian Gallery.

Estim. 4 000 - 5 000 EUR

Lot 74 - DELPHINE BOËL; Delfina of Saxe-Coburg (Uccle, Belgium, 1968). "Bla Bla Bla", 2013. Neon light. Exemplary 1/7. Measurements: 18 x 60 x 14,4 cm. In Delhphine Böel's language, titles, texts and words are tremendously important and revealing. For the Belgian artist, born out of an extramarital affair of the emeritus King Albert II of Belgium, the onomatopoeia "bla-bla-bla-bla" alluded at first to the gossip and talk of the people. However, in 2020 it took on a new meaning: before suing his father, he painted a work with the words "Blah, blah, blah, blah, blah" entitled "My duty to remain silent". Since then, the conjunction "Blah, blah, blah, blah" has become a regular feature of her production. Delphine Boël is an officially recognized princess since 2020 and a Belgian sculptor. She is the extramarital daughter of King Albert II of Belgium with Baroness Sibylle de Selys Longchamps. She trained at the Chelsea School of Art, London (1991). He has participated in numerous international exhibitions and events. Selection of recent solo exhibitions: 2023 "Love Imperfection" Bicester Collection, Maasmechelen Village, Belgium 2022 "What Is to Come Is Better Than What Was" Linda and Guy Pieters Foundation, St. Tropez, France. 2021 "I Love You. No More Blabla." Guy Pieters Gallery, Knokke, Belgium 2020 "Attitude" Guy Pieters Gallery, Knokke, Belgium 2017 "NEVER GIVE UP" Museum of Ixelles, Brussels, Belgium "Obsessed with Love" WM Gallery, Antwerp, Belgium. Delphine has practiced a wide variety of techniques, and defines herself as a color artist. In painting, video, sculpture and neon, her works are vibrant, playful and extravagant. Group exhibitions and fairs: 2023 ORNAMENTUM - Artists' Jewellery Collection of Diane Venet, Boghossian Foundation, Brussels, 2022 "If Cloths Could Talk" Markiezenhof Museum, Bergen Op Zoom, The Netherlands. Special Guest Artist, Aardenburg Biennale, Aardenburg, The Netherlands. 2021 "Bijoux D'Artistes - De Picasso a Koons" Diane Venet Collection, Grimaldi Forum, Monaco "Come What May" Aeroplastics, Brussels. 2020 "Claire-Obscure" Galerie Paul Janssen, St. Tropez, France 2019 "Habiter L'intime" Fondation Thalie, Brussels, Belgium. ART PARIS, Grand Palais, represented by The Belgian Gallery.

Estim. 6 000 - 8 000 EUR

Lot 75 - DELPHINE BOËL; Delphine of Saxe-Coburg (Uccle, Belgium, 1968). "New York Times-Love Conquers Hate," 2018. Mixed media on newsprint. Unique piece. Signed and dated in the lower right corner. With Art22 Gallery label on the back. Measurements: 67 x 45 cm; 69 x 47 cm (frame). In Delhphine Böel's language, titles, texts and words are tremendously important and revealing. For the Belgian artist, born out of an extramarital affair with the emeritus King Albert II of Belgium, love is the universal language. Delphine Boël is an officially recognized princess since 2020 and a Belgian sculptor. She is the extramarital daughter of King Albert II of Belgium with Baroness Sibylle de Selys Longchamps. She trained at the Chelsea School of Art, London (1991). He has participated in numerous international exhibitions and events. Selection of recent solo exhibitions: 2023 "Love Imperfection" Bicester Collection, Maasmechelen Village, Belgium 2022 "What Is to Come Is Better Than What Was" Linda and Guy Pieters Foundation, St. Tropez, France. 2021 "I Love You. No More Blabla." Guy Pieters Gallery, Knokke, Belgium 2020 "Attitude" Guy Pieters Gallery, Knokke, Belgium 2017 "NEVER GIVE UP" Museum of Ixelles, Brussels, Belgium "Obsessed with Love" WM Gallery, Antwerp, Belgium. Delphine has practiced a wide variety of techniques, and defines herself as a color artist. In painting, video, sculpture and neon, her works are vibrant, playful and extravagant. Group exhibitions and fairs: 2023 ORNAMENTUM - Artists' Jewellery Collection of Diane Venet, Boghossian Foundation, Brussels, 2022 "If Cloths Could Talk" Markiezenhof Museum, Bergen Op Zoom, The Netherlands. Special Guest Artist, Aardenburg Biennale, Aardenburg, The Netherlands. 2021 "Bijoux D'Artistes - De Picasso a Koons" Diane Venet Collection, Grimaldi Forum, Monaco "Come What May" Aeroplastics, Brussels. 2020 "Claire-Obscure" Galerie Paul Janssen, St. Tropez, France 2019 "Habiter L'intime" Fondation Thalie, Brussels, Belgium. ART PARIS, Grand Palais, represented by The Belgian Gallery.

Estim. 7 000 - 8 000 EUR

Lot 76 - KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Face off", 2013. Marble sculpture. Unique piece. Enclosed certificate signed by Guy Pieters. Measurements: 120 x 45 x 45 cm. In "Face off", the Belgian artist Koen Vanmechelen gives us an allegorical image of modern times while resorting to classical art. A marble gorgon (the Greek goddess Medusa) with a head bristling with snakes and the skulls of mutant chickens replicates herself by looking into a mirror. It is the "face to face" of the monster that petrifies with its gaze. Like the venom of Medusa and her snakes, which, in mythology, had the power to resurrect the dead. Medusa is thus a metaphor for the ability to kill and give life. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), a unique art project he launched in the late 1990s. This project focuses on the chicken and, more specifically, on crossing national chicken breeds to turn them into "cosmopolitan chickens". In 2018, the 22nd generation within this global project was born at the Serlachius Museum in Finland: the Danish Malinois, a cross between a Finnish breed and the Danish Malinois (CCP21) that hatched at the Danish Biennale a year earlier. Meanwhile, the various cosmopolitan chickens carry genes from Belgium, France, England, the United States, Germany, the Netherlands, Mexico, Thailand, Brazil, Turkey, Cuba, Italy, Russia, China, Egypt, Senegal, Slovenia, Austria, Indonesia and Denmark. Biocultural diversity and the resulting interaction between art and science are the main theme of his work. Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Estim. 70 000 - 80 000 EUR

Lot 77 - KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Therianthropy", 2018. Sculpture in serval cat taxidermy, turkey wing taxidermy, glass and steel. Unique piece . Attached certificate signed by the artist. Measurements: 105 x 115 x 106 cm. In his Therianthropy series, Vanmechelen tackles an artificial crossbreeding that shows two mesmerizing bodies entangled and carrying the transparency of life. A hybrid born from accidents in time and raised in a nest, formed by the past. This work is inspired by the cabinets of curiosities of the sixteenth century, a source of erudition to understand the layout of the world and nature, but also a prestigious space where the collector's most precious treasures were exhibited. At that time, imagination was fertile and cabinets of objects were traditionally classified according to their nature. In 2021, curator Els Wuyts selected three works by Vanmechelen for the show "A Soft Gentle Breeze", among them was Therianthropy and together they formed what was called the circle of life. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), a unique art project he launched in the late 1990s. This project focuses on the chicken and, more specifically, on crossing national chicken breeds to turn them into "cosmopolitan chickens". In 2018, the 22nd generation within this global project was born at the Serlachius Museum in Finland: the Danish Malinois, a cross between a Finnish breed and the Danish Malinois (CCP21) that hatched at the Danish Biennale a year earlier. Meanwhile, the various cosmopolitan chickens carry genes from Belgium, France, England, the United States, Germany, the Netherlands, Mexico, Thailand, Brazil, Turkey, Cuba, Italy, Russia, China, Egypt, Senegal, Slovenia, Austria, Indonesia and Denmark. Biocultural diversity and the resulting interaction between art and science are the main theme of his work. Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Estim. 90 000 - 100 000 EUR

Lot 78 - KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Mechelse Bresse C.C.P.", 2012. Sculpture in taxidermy of hen, wooden base and two photographs (rooster and hen, father and mother of the hen in the sculpture). Unique piece. Enclosed certificate signed by the artist. Measurements: 52 x 48 x 22 cm (hen); 62 x 56,5 x 36,5 cm (hen urn); 30 x 30 cm (each of the two photographs). Throughout his life, the artist Koen Vanmechelen has been fascinated by the chicken and the egg. Already as a child he built cages and aviaries, and had an incubator in his room. Then he realized that the domestic chicken has its cage inside. The egg is its prison. The chick that breaks through the eggshell is a symbol of liberation. This work belongs to "The Cosmopolitan Chicken Project (CCP, 1999)" a global, transdisciplinary and transtemporal examination of the themes of biocultural diversity and identity through the interplay of art, science and beauty. In the CCP, artist Koen Vanmechelen crosses chicken breeds from different countries. His ultimate goal is the creation of a Cosmopolitan Chicken carrying the genes of all chicken breeds on the planet. Much more than a simple domestic animal, the chicken is art in itself. It serves as a metaphor for the human animal and its relationship to the biological and cultural diversity of the planet. While native breeds descended from the original chicken (the Red Junglefowl) are evolutionary dead ends (being shaped to reflect the typical cultural characteristics of their community), Vanmechelen crosses are solutions. Many years of crossbreeding have shown that each successive generation is hardier, lives longer, is less susceptible to disease and exhibits less aggressive behavior. Genetic diversity is essential, demonstrates the Cosmopolitan Chicken Research Project (CC®P), which studies the various cosmopolitan chickens. In the millennial year 2000, Vanmechelen presented its first "crossbreed", the Mechelse Bresse, a "cross" born from the Belgian Mechelse Koekoek and the French Poulet de Bresse. To date, twenty-one pure breeds have been included in the CCP. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Estim. 20 000 - 25 000 EUR

Lot 79 - KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Kitovu", 2016. Mixed media (neon, horns, cowhide, ropes and other materials) in plexiglass urn. Unique piece. Attached certificate issued by the artist. Measurements: 64 x 76 x 33 cm (urn). Osotwa (Kitovu) means "umbilical cord" in the language of the Masai. This work, titled Osotwa, is linked to Koen Vanmechelen's and Labiomista's joint project. It is the result of the artist's collaboration with the city of Genk. An experimental idea born from a shared vision of the potential of identity and diversity. As part of the transdisciplinary team, Koen Vanmechelen assigned several themes to a group of people and a work of art, as a tool for reflection and regrouping and as a source of inspiration. This work is the indivisible part of the conclusions reached by the second working group, whose discussion had revolved around freedom. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), a unique art project he launched in the late 1990s. This project focuses on the chicken and, more specifically, on crossing national chicken breeds to turn them into "cosmopolitan chickens". In 2018, the 22nd generation within this global project was born at the Serlachius Museum in Finland: the Danish Malinois, a cross between a Finnish breed and the Danish Malinois (CCP21) that hatched at the Danish Biennale a year earlier. Meanwhile, the various cosmopolitan chickens carry genes from Belgium, France, England, the United States, Germany, the Netherlands, Mexico, Thailand, Brazil, Turkey, Cuba, Italy, Russia, China, Egypt, Senegal, Slovenia, Austria, Indonesia and Denmark. Biocultural diversity and the resulting interaction between art and science are the main theme of his work. Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Estim. 35 000 - 40 000 EUR

Lot 80 - KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Mechelse Silky C.C.P.", 2012. Taxidermy sculpture of Japanese hen, wooden base and two photographs (rooster and hen, father and mother of the hen in the sculpture). Unique piece. Attached certificate signed by the artist. Measurements: 34 x 30 x 16 cm (hen); 47 x 36,5 x 29 cm (hen urn); 30 x 30 cm (each of the two photographs). Throughout his life, the artist Koen Vanmechelen has been fascinated by the chicken and the egg. Already as a child he built cages and aviaries, and had an incubator in his room. Then he realized that the domestic chicken has its cage inside. The egg is its prison. The chick that breaks through the eggshell is a symbol of liberation. This work belongs to "The Cosmopolitan Chicken Project (CCP, 1999)" a global, transdisciplinary and transtemporal examination of the themes of biocultural diversity and identity through the interplay of art, science and beauty. In the CCP, artist Koen Vanmechelen crosses chicken breeds from different countries. His ultimate goal is the creation of a Cosmopolitan Chicken carrying the genes of all chicken breeds on the planet. Much more than a simple domestic animal, the chicken is art in itself. It serves as a metaphor for the human animal and its relationship to the biological and cultural diversity of the planet. While native breeds descended from the original chicken (the Red Junglefowl) are evolutionary dead ends (being shaped to reflect the typical cultural characteristics of their community), Vanmechelen crosses are solutions. Many years of crossbreeding have shown that each successive generation is hardier, lives longer, is less susceptible to disease and exhibits less aggressive behavior. Genetic diversity is essential, demonstrates the Cosmopolitan Chicken Research Project (CC®P), which studies the various cosmopolitan chickens. In the millennial year 2000, Vanmechelen presented its first "crossbreed", the Mechelse Bresse, a "cross" born from the Belgian Mechelse Koekoek and the French Poulet de Bresse. To date, twenty-one pure breeds have been included in the CCP. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Estim. 20 000 - 25 000 EUR

Lot 81 - FRANCO DEFRANCESCA (Toronto, 1967). “Mauvemind-Targets”, 2016-2017. Pigmented print on panel and plywood with epoxy resin coating. Unique piece. Signed, dated and titled on the back. Measurements: 76.5 x 76.5 x 6 cm. DeFrancesca's minimalist work follows in the wake of the geometric movements of the last third of the 20th century. With their polished finish and vibrant colors, these almost hypnotic targets make reference to industrial design and obliquely refer to the urban. He investigates the links between art, memory, history and technology, using the digital image as a medium to navigate the territory between photography and painting. As a result of mixing references to photography and painting, these multimedia art pieces represent reflections on contemporary visual culture fascinated by minimalism, modernism, technology and futurism. DeFrancesca's works highlight visual, temporal and spatial qualities combined with the physical and tactile. Applying a keen sense of craftsmanship and a reverence for materials and processes, the abstract image is integrated with an exposed support of layered plywood, then encapsulated under crystalline resin, creating an "object of desire". Born in Toronto and a graduate of OCAD and the University of Guelph, DeFrancesca has exhibited in Canada and the United States, and his work can be found in corporate and public collections around the world, such as that of Cenovus Energy Inc. Recent solo exhibitions: 2021 Franco DeFrancesca: Re-Evolver, Newzones. Gallery of Contemporary Art, Calgary, AB,.Canada 2018 Franco DeFrancesca, Galerie de Bellefeuille, Toronto, ON, Canada 2017 Sunscreen - Group Show, Newzones, Calgary, AB " Spin Cycle Matrix",. Newzones, Calgary, AB, Galerie de Bellefeuille, Montreal, QC Colour Break, Oeno Gallery, Bloomfield, ON. perception, Newzones, Calgary, AB. "New Work, Oeno Gallery, Bloomfield, ON.

Estim. 5 000 - 6 000 EUR

Lot 82 - FRANCO DEFRANCESCA (Toronto, 1967). "Neostrata-Targets," 2016. Pigmented print on panel and plywood with epoxy resin coating. Signed, dated and titled on verso. Measurements: 76.5 x 76.5 x 6 cm. DeFrancesca's minimalist work follows in the wake of the geometric movements of the last third of the 20th century. With their polished finish and vibrant colors, these almost hypnotic targets make reference to industrial design and obliquely refer to the urban. He investigates the links between art, memory, history and technology, using the digital image as a medium to navigate the territory between photography and painting. As a result of mixing references to photography and painting, these multimedia art pieces represent reflections on contemporary visual culture fascinated by minimalism, modernism, technology and futurism. DeFrancesca's works highlight visual, temporal and spatial qualities combined with the physical and tactile. Applying a keen sense of craftsmanship and a reverence for materials and processes, the abstract image is integrated with an exposed support of layered plywood, then encapsulated under crystalline resin, creating an "object of desire". Born in Toronto and a graduate of OCAD and the University of Guelph, DeFrancesca has exhibited in Canada and the United States, and his work can be found in corporate and public collections around the world, such as that of Cenovus Energy Inc. Recent solo exhibitions: 2021 Franco DeFrancesca: Re-Evolver, Newzones. Gallery of Contemporary Art, Calgary, AB,.Canada 2018 Franco DeFrancesca, Galerie de Bellefeuille, Toronto, ON, Canada 2017 Sunscreen - Group Show, Newzones, Calgary, AB " Spin Cycle Matrix",. Newzones, Calgary, AB, Galerie de Bellefeuille, Montreal, QC Colour Break, Oeno Gallery, Bloomfield, ON. perception, Newzones, Calgary, AB. "New Work, Oeno Gallery, Bloomfield, ON.

Estim. 5 000 - 6 000 EUR

Lot 83 - LORI HERSBERGER (Basel, Switzerland, 1964). "Instant karma nº26", 2013. Sculpture in mirror polished stainless steel. Unique piece. Signed, dated and titled on the back (bottom). Attached certificate issued by Studio Lori Hersberger signed by the artist. Measurements: 80 x 60 x 20 cm. Lori Hersberger's elegant pieces highlight the opposition between the world of illusion and the world of reality, while alluding to the common space they share. The use of mirrored steel drives this interest in exploring the plasticity of that in-between zone: between illusion and reality, between painting and sculpture, between industrial processes and handcrafted finishes... Her non-dogmatic choice of materials and expressive means has become the hallmark of her production. A constant element in his works is the exploration of post-war avant-garde art, of Hard-Edge, Minimalism, Land Art and Pop trends, which is evident in this reflective sculpture. Swiss artist Lori Hersberger lives and works in Zurich. She was born in Basel and studied Video Art and Sculpture at the Basel School of Art and Design. In the early nineties she started to create environments and installations, at first combined with video, and later with different types of media, such as mirrored glass, painting with fluorescent paint, neon light and chromed steel. He quickly moved into a wide spectrum of different and seemingly incompatible media and subjects. His works are characterized by a direct artistic language and, although many trigger a strong affirmative impression, a subversive potential. In various installations, as well as in her painting and sculptures, she addresses a range of themes such as hybrid emotionalism and the dual semantic nature of phenomena such as the phantasmagoric. Starting in 2000, Lori Hersberger expanded her artistic oeuvre to abstract painting, and since then she considers herself exclusively a painter and sculptor. To call her an installation artist is as inadequate as categorizing her solely as a painter, since from the beginning of her career she has engaged in a kind of perspectivism expressed in the experimental exploration of multiple genres. Lori Hersberger has received numerous awards, including the Swiss Art Award (1999 and 2000) and the Manor Art Prize Basel (2001). Her works have been exhibited in numerous institutions and museums, including the MAC Museum of Contemporary Art in Lyon, where in 2008 she presented in her largest solo exhibition to date, entitled Lori Hersberger - Phantom Studies, deformed steel sculptures as well as extensive installations with neon light and mirrored glass, or in other solo exhibitions at, among others, Kunsthaus Zürich in 2003. In addition, he has exhibited at places such as the Museum für Gegenwartskunst in Basel, the MMKK Museum of Modern Art Carinthia in Klagenfurt, at the Kunsthalle Giessen, the Kunsthalle Basel and the Swiss Institute in New York. At the 48th Venice Biennale, at the Kunsthalle Vienna, at the ZKM Museum of Contemporary Art in Karlsruhe, at the SMAK Stedelijk Museum of Contemporary Art in Ghent, at the Lucerne Museum of Art and at the Art Museum of St. Gallen. His works are included in numerous collections in Switzerland, Europe and the United States, and are part of several installations in public spaces.

Estim. 30 000 - 40 000 EUR

Lot 84 - LORI HERSBERGER (Basel, Switzerland, 1964). "Instant karma nº25", 2013. Sculpture in mirror polished stainless steel with red coating. Unique piece. Signed, dated and titled on the back. Attached certificate issued by Studio Lori Hersberger signed by the artist. Measurements: 80 x 60 x 20 cm. Lori Hersberger's elegant pieces highlight the opposition between the world of illusion and the world of reality, while alluding to the common space they share. The use of mirrored steel drives this interest in exploring the plasticity of that in-between zone: between illusion and reality, between painting and sculpture, between industrial processes and handcrafted finishes... Her non-dogmatic choice of materials and expressive means has become the hallmark of her production. A constant element in his works is the exploration of post-war avant-garde art, of Hard-Edge, Minimalism, Land Art and Pop trends, which is evident in this reflective sculpture. Swiss artist Lori Hersberger lives and works in Zurich. She was born in Basel and studied Video Art and Sculpture at the Basel School of Art and Design. In the early nineties she started to create environments and installations, at first combined with video, and later with different types of media, such as mirrored glass, painting with fluorescent paint, neon light and chromed steel. He quickly moved into a wide spectrum of different and seemingly incompatible media and subjects. His works are characterized by a direct artistic language and, although many trigger a strong affirmative impression, a subversive potential. In various installations, as well as in her painting and sculptures, she addresses a range of themes such as hybrid emotionalism and the dual semantic nature of phenomena such as the phantasmagoric. Starting in 2000, Lori Hersberger expanded her artistic oeuvre to abstract painting, and since then she considers herself exclusively a painter and sculptor. To call her an installation artist is as inadequate as categorizing her solely as a painter, since from the beginning of her career she has engaged in a kind of perspectivism expressed in the experimental exploration of multiple genres. Lori Hersberger has received numerous awards, including the Swiss Art Award (1999 and 2000) and the Manor Art Prize Basel (2001). Her works have been exhibited in numerous institutions and museums, including the MAC Museum of Contemporary Art in Lyon, where in 2008 she presented in her largest solo exhibition to date, entitled Lori Hersberger - Phantom Studies, deformed steel sculptures as well as extensive installations with neon light and mirrored glass, or in other solo exhibitions at, among others, Kunsthaus Zürich in 2003. In addition, he has exhibited at places such as the Museum für Gegenwartskunst in Basel, the MMKK Museum of Modern Art Carinthia in Klagenfurt, at the Kunsthalle Giessen, the Kunsthalle Basel and the Swiss Institute in New York. At the 48th Venice Biennale, at the Kunsthalle Vienna, at the ZKM Museum of Contemporary Art in Karlsruhe, at the SMAK Stedelijk Museum of Contemporary Art in Ghent, at the Lucerne Museum of Art and at the Art Museum of St. Gallen. His works are included in numerous collections in Switzerland, Europe and the United States, and are part of several installations in public spaces.

Estim. 30 000 - 40 000 EUR

Lot 85 - SLATER BRADLEY (San Francisco, California, 1975). "Perfect Empathy (Alina Melancholina)," 2012. Crumpled black and white fiber print and silver marker pen. Unique piece. Enclosed certificate signed by the artist. Measurements: 200 x 145 x 11 cm. Drawing from intimate experiences, Slater Bradley explores the universal narrative of lost love in a photographic and video corpus starring Alina. In a brilliant play of mirrors between reality and fiction, Alina is assimilated to filmic characters, such as the dream woman in Chris Marker's "La Jetée" or the mysterious protagonist of Hitchcock's "Vertigo". Bradley achieves the image of the idealized and unattainable woman they embody by manipulating the backgrounds with painstaking techniques and achieving timeless qualities. Slater Bradley graduated from the University of California at Los Angeles in 1998. Bradley's photographic series Don't Let Me Disappear (1997-2003), named after a phrase from Holden Caulfield's Catcher in the Rye, is replete with autobiographical references, personal symbols, and artistic and musical influences. In JFK Jr. (1999), the camera voyeuristically follows a young woman waiting her turn to lay a flower in memory of John F. Kennedy Jr. and Carolyn Bessette Kennedy; the mourner does not notice the filmmaker's gaze until the final frame. Bradley compares his art to butterfly collecting in the video I Was Rooting For You (Butterfly Catcher at Home) (2000). In The Laurel Tree (Beach) (2000), actress Chloë Sevigny recites a passage about art from Thomas Mann's novel Tonio Krögor. Female Gargoyle (2000) presents a woman standing precariously near the ledge of a building. The video Theory and Observation (2002) reflects on the relationship between reason and faith through images of a choir singing in Notre Dame Cathedral and excerpts from Stephen Hawking's A Brief History of Time. For "The Doppelganger Trilogy" (2001-04), Bradley staged concerts by three fallen heroes of the pop music world - Ian Curtis of Joy Division, Kurt Cobain of Nirvana and Michael Jackson - performed by his real-life doppelganger, Benjamin Brock. Since the artist met Brock in a nightclub in 1999, he has repeatedly employed him in various guises in his photographs, videos, and drawings, reflecting on complicated notions of duplicated and erased identities. In the video The Year of the Doppelganger (2005), Bradley casts Brock in the role of a skinny rock musician who plays the drums so intensely that he doesn't realize that his soccer field is empty and is usurped for team practice. In Uncharted Settlements (2005), Bradley, Brock and a plethora of fans are unrecognizable under their Star Wars costumes, a situation characterized by both anonymity and community. The film My Conclusion/My Necessity (2005-06) tours the Père-Lachaise cemetery in Paris and captures a young woman applying a lipstick kiss to Oscar Wilde's headstone. Brock appears in an astronaut suit wandering through New York's Museum of Natural History to the sound of Beethoven's "Moonlight Sonata" in Dark Night of the Soul (2005-06), reminiscent of Stanley Kubrick's 2001: A Space Odyssey. Bradley has participated in solo exhibitions at the P.S.1 Contemporary Art Center in New York (2000), the Solomon R. Guggenheim Museum in New York (2005), the Berkeley Art Museum and Pacific Film Archive (2005), and the Contemporary Art Museum in St. Louis (2007), among others. His work has also been included in important group exhibitions such as the Whitney Biennial (2004), video-music-video at the Museo Reina Sofia in Madrid (2005), and Sympathy for the Devil: Art and Rock and Roll since 1967 at the Museum of Contemporary Art in Chicago (2007). In 2005 he received the Louis Comfort Tiffany Foundation Video Award. Bradley lives and works in New York.

Estim. 45 000 - 50 000 EUR

Lot 86 - WIM DELVOYE (Belgium, 1965). "Studies for Super Cloaca- Study #126", 2002. Mixed media on paper. Unique work. Signed and dated in the lower right corner. Stamped "Super Cloaca". Attached certificate issued by Guy Pieters, Guy Pieters Gallery. Measurements: 50 x 54 cm; 69 x 72,5 cm (frame). "Cloaca" was Wil Delvoye's most controversial and revolutionary project, the result of a three-year collaboration with scientists from the University of Antwerp, whose shared mission was to replicate the human digestive system as closely as possible. It consisted in the realization of a large machine built from chemical beakers, electric pumps and plastic tubes arranged on a series of seven stainless steel tables capable of transforming food into feces. The installation was shown as part of the retrospective exhibition "Wim Delvoye - Cloaca 2000-2007" at the Casino Luxembourg-Forum d'art contemporain. The huge machine was activated on October 13 (Museum Night) and fed twice a day from a large funnel accessed by climbing a ladder. At the opening of the work, Delvoye himself climbed the ladder to pour the succulent, completely real food into the funnel for the first time. Internally, the machine functioned like a stomach: the food was chewed by a garbage disposal device before traveling a 27-hour digestive journey through six glass vats connected by tubes, pumps and various electronic components that were the stomach, pancreas, and the small and large intestines of the sewer. The "digested" food was constantly maintained at a precise temperature of 37.2 degrees Celsius and each of Cloaca's "organs" was filled with enzymes, bacteria and acids. With "Cloaca" Wil Delvoye forced viewers to become aware of our social discomfort with such functions considered scatological that we insist on keeping out of sight and out of society. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 9 000 - 10 000 EUR

Lot 87 - WIM DELVOYE (Belgium, 1965). "Pipe 3", 2000. C-print , copy 3/6. Signed, titled, serialized and dated on the back. With Exclusive Art Presentation frame. Attached certificate issued by Guy Pieters, Guy Pieters Gallery. Measurements: 125 x 100 cm; 135 x 109,5 cm (frame). Wim Delvoye made the first X-rays in 1998, but his interest in science, medicine, the human body and X-ray machines led the Belgian artist to recover them again in 2001, immediately after finishing his well-known work "Cloaca". Of all his series of X-rays, the most famous are the ones with sexual themes. For their realization, Delvoye gathered a group of friends whom he asked to cover their bodies with small amounts of barium (a liquid that enhances visibility in X-rays) and to perform sexual acts, with a predilection for fellatio, in hospitals where he was allowed to use the necessary equipment for X-rays. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 20 000 - 24 000 EUR

Lot 88 - WIM DELVOYE (Belgium, 1965). "Studies for Cloaca Original- Study #50", 2001. Mixed media on paper. Unique work. Signed, dated and titled in the lower right corner. With "Cloaca" stamp in the lower right corner. Attached certificate issued by Guy Pieters, Guy Pieters Gallery. Measurements: 23.5 x 46 cm; 40.5 x 63.5 cm (frame). "Cloaca" was Wil Delvoye's most controversial and revolutionary project, the result of a three-year collaboration with scientists from the University of Antwerp, whose shared mission was to replicate the human digestive system as closely as possible. It consisted in the realization of a large machine built from chemical beakers, electric pumps and plastic tubes arranged on a series of seven stainless steel tables capable of transforming food into feces. The installation was shown as part of the retrospective exhibition "Wim Delvoye - Cloaca 2000-2007" at the Casino Luxembourg-Forum d'art contemporain. The huge machine was activated on October 13 (Museum Night) and fed twice a day from a large funnel accessed by climbing a ladder. At the opening of the work, Delvoye himself climbed the ladder to pour the succulent, completely real food into the funnel for the first time. Internally, the machine functioned like a stomach: the food was chewed by a garbage disposal device before traveling a 27-hour digestive journey through six glass vats connected by tubes, pumps and various electronic components that were the stomach, pancreas, and the small and large intestines of the sewer. The "digested" food was constantly maintained at a precise temperature of 37.2 degrees Celsius and each of Cloaca's "organs" was filled with enzymes, bacteria and acids. With "Cloaca" Wil Delvoye forced viewers to become aware of our social discomfort with such functions considered scatological that we insist on keeping out of sight and out of society. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 9 000 - 11 000 EUR

Lot 89 - WIM DELVOYE (Belgium, 1965). "Fuck 1", 2000-2001. C-Print , copy E.A. Attached certificate on the back signed by the artist. Attached certificate issued by Guy Pieters, Guy Pieters Gallery. Measurements: 125 x 100 cm; 135 x 110 cm. Wim Delvoye made the first X-rays in 1998, but his interest in science, medicine, the human body and X-ray machines led the Belgian artist to recover them again in 2001, immediately after finishing his well-known work "Cloaca". Of all his series of X-rays, the most famous are the ones with sexual themes. For their realization, Delvoye gathered a group of friends whom he asked to cover their bodies with small amounts of barium (a liquid that accentuates the visibility in X-rays) and to perform sexual acts, having a predilection for fellatio, in hospitals where he was allowed to use the necessary equipment to make X-rays. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 20 000 - 24 000 EUR

Lot 90 - WIM DELVOYE (Belgium, 1965). "Studies for Cloaca Original Study #32", 1997-2001. Mixed media on paper. Signed in the lower right corner. Attached certificate signed by Guy Pieters. Measurements: 62 x 43 cm; 78.5 x 61 cm (frame). "Cloaca" was Wil Delvoye's most controversial and revolutionary project, the result of a three-year collaboration with scientists from the University of Antwerp, whose shared mission was to replicate the human digestive system as closely as possible. It consisted in the realization of a large machine built from chemical beakers, electric pumps and plastic tubes arranged on a series of seven stainless steel tables capable of transforming food into feces. The installation was shown as part of the retrospective exhibition "Wim Delvoye - Cloaca 2000-2007" at the Casino Luxembourg-Forum d'art contemporain. The huge machine was activated on October 13 (Museum Night) and fed twice a day from a large funnel accessed by climbing a ladder. At the opening of the work, Delvoye himself climbed the ladder to pour the succulent, completely real food into the funnel for the first time. Internally, the machine functioned like a stomach: the food was chewed by a garbage disposal device before traveling a 27-hour digestive journey through six glass vats connected by tubes, pumps and various electronic components that were the stomach, pancreas, and the small and large intestines of the sewer. The "digested" food was constantly maintained at a precise temperature of 37.2 degrees Celsius and each of Cloaca's "organs" was filled with enzymes, bacteria and acids. With "Cloaca" Wil Delvoye forced viewers to become aware of our social discomfort with such functions considered scatological that we insist on keeping out of sight and out of society. Likewise, "Sewer" can be read as a commentary on consumer society. The machine, which turns nutritious food into waste, represents the cyclical and often absurd nature of the capitalist economy. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 9 000 - 10 000 EUR

Lot 91 - WIM DELVOYE (Belgium, 1965). "Studies for Cloaca nº5- Study #161", 2001. Mixed media on paper. Unique work. With "Cloaca" stamps in the lower right corner. Attached certificate issued by Guy Pieters, Guy Pieters Gallery. Measurements: 24 x 46 cm; 40,5 x 63,5 cm (frame). "Cloaca" was Wil Delvoye's most controversial and revolutionary project, the result of a three-year collaboration with scientists from the University of Antwerp, whose shared mission was to replicate the human digestive system as closely as possible. It consisted in the realization of a large machine built from chemical beakers, electric pumps and plastic tubes arranged on a series of seven stainless steel tables capable of transforming food into feces. The installation was shown as part of the retrospective exhibition "Wim Delvoye - Cloaca 2000-2007" at the Casino Luxembourg-Forum d'art contemporain. The huge machine was activated on October 13 (Museum Night) and fed twice a day from a large funnel accessed by climbing a ladder. At the opening of the work, Delvoye himself climbed the ladder to pour the succulent, completely real food into the funnel for the first time. Internally, the machine functioned like a stomach: the food was chewed by a garbage disposal device before traveling a 27-hour digestive journey through six glass vats connected by tubes, pumps and various electronic components that were the stomach, pancreas, and the small and large intestines of the sewer. The "digested" food was constantly maintained at a precise temperature of 37.2 degrees Celsius and each of Cloaca's "organs" was filled with enzymes, bacteria and acids. With "Cloaca" Wil Delvoye forced viewers to become aware of our social discomfort with such functions considered scatological that we insist on keeping out of sight and out of society. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 9 000 - 11 000 EUR

Lot 92 - WIM DELVOYE (Belgium, 1965). "Birdhouse nº8", 1997. Assemblage (wood and studded leather covering). Unique piece. Enclosed certificate signed by the artist. Measurements: 36 x 30 x 28 cm. Deer, pigs and tattooed chickens are part of Wim Delvoye's imaginary. In this case it is not about an animal but about the space where it lives. A space that is denaturalized and imposed by man, who manipulates the habits of the animal world in his own image and likeness. In the words of the artist himself in a conversation with Paul Laster "An aviary is easier than a skyscraper, but it still reflects the nature of architecture". The nature of a product that has been intervened with a leather casing adorned with studs, following the "Bondage" style. In this way the artist not only vandalizes the object, but resignifies it by giving it a new sexual reading. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye participates in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exposing his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, Delvoye received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms like a Möbius strip or a Rorschach inkblot

Estim. 45 000 - 50 000 EUR

Lot 93 - WIM DELVOYE (Belgium, 1965). "Studies for Cloaca Original Study #21", 1997. Mixed media on paper. Signed in the lower right corner. Attached certificate signed by Guy Pieters. Measurements: 59 x 43 cm; 77 x 60 cm (frame). "Cloaca" was Wim Delvoye's most controversial and revolutionary project, the result of a three-year collaboration with scientists from the University of Antwerp, whose shared mission was to replicate the human digestive system as closely as possible. It consisted in the realization of a large machine built from chemical beakers, electric pumps and plastic tubes arranged on a series of seven stainless steel tables capable of transforming food into feces. The installation was shown as part of the retrospective exhibition "Wim Delvoye - Cloaca 2000-2007" at the Casino Luxembourg-Forum d'art contemporain. The huge machine was activated on October 13 (Museum Night) and fed twice a day from a large funnel accessed by climbing a ladder. At the opening of the work, Delvoye himself climbed the ladder to pour the succulent, completely real food into the funnel for the first time. Internally, the machine functioned like a stomach: the food was chewed by a garbage disposal device before traveling a 27-hour digestive journey through six glass vats connected by tubes, pumps and various electronic components that were the stomach, pancreas, and the small and large intestines of the sewer. The "digested" food was constantly maintained at a precise temperature of 37.2 degrees Celsius and each of Cloaca's "organs" was filled with enzymes, bacteria and acids. With "Cloaca" Wil Delvoye forced viewers to become aware of our social discomfort with such functions considered scatological that we insist on keeping out of sight and out of society. Likewise, "Sewer" can be read as a commentary on consumer society. The machine, which turns nutritious food into waste, represents the cyclical and often absurd nature of the capitalist economy. Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exhibiting his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, he received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot. He has had numerous solo exhibitions in museums throughout Europe, including the Centre Georges Pompidou, Paris, and MUHKA, Antwerp (both in 2000), and was a participating artist in the 48th Venice Biennale (1999) and documenta IX (1997).

Estim. 9 000 - 10 000 EUR

Lot 94 - RICHARD HEEPS (England, 1965). "Thrills A13," 2017. Priont ink on dibond, copy 4/10. Signed and justified on verso. Certificate on the back. Measurements: 73 x 93 cm; 96 x 115 cm (frame). Richard Heeps is a contemporary British photographer based in Cambridge. His unmistakable saturated style eschews digital manipulation and pushes the boundaries of photography. Richard Heeps' art is a true love letter to the art of photography and the carefree American lifestyle. Heeps' photographs feature a seductive color palette and relaxed subject matter. Heeps speaks of his fascination with America: "The speed, the lifestyle and the technicolor are reflected in my images. The 'American' color is an important aspect in my work, it drives my equipment and material choices." We love how Heeps is determined to create a portfolio of art that connects with his contemporary audience while embracing the traditional methods of lens-based photography. Heeps studied at Cambridge University and gained an apprenticeship in Mechanical Engineering, before completing two further qualifications in Photography and Film. Prior to his formal education, Heeps had a long-standing interest in art, painting and photography, having shown his early work in exhibitions from the age of ten. The artist's fascination with New York during his youth was the starting point for his fixation with all things American, a fascination that was only accentuated by his visits to the country later in life. Heeps has been exhibiting his work since the 1980s, and since then he has continued to grow, exhibiting internationally in museums and public galleries such as the Affordable Art Fair in Milan, The Photographer's Gallery in London, and the Royal Academy of Art's summer exhibition.

Estim. 2 000 - 2 500 EUR

Lot 95 - HERSK (Argenteuil, France, 1979). "Something to suck #31", 2014. Unique piece . Graffiti on steel and wood. Signed, dated and titled on the back. Measurements: 124.5 x 45 x 9 cm. In this sculpture the artist uses the silhouette of the mythical ice cream of the Skimo brand as the basis for a graffiti. HeRsk, who has turned ice creams into icons of his artistic production, makes his own wooden structures and then intervenes them, thus combining a concept that refers to childhood and an aesthetic that transports the viewer to adolescence. HeRsk is an urban artist of French origin. Fascinated by the world of graffiti since childhood, his first artistic incursions were in his own home where he created his workshop. His passion led him to experiment with numerous materials such as metal, wood, canvas or paper, in addition to intervene objects such as clothing, shoes, skateboards and snowboards. His skill was increasing until it reached the walls of his city. His artistic influences come from the work of street artists such as Mist, Zest and Smash 137, although his work has a completely personal stamp. Ice cream, lollipops, cookies and chocolate bars form his imaginary. Elements that he rescues from childhood and "vandalizes" with his urban aesthetics of rounded shapes that intertwine. Currently his work can be seen largely in the city where he has lived since 1999, Montpellier, although in 2007 he met Giovanni Ingrato, whose influence meant a leap towards works on canvas and sculptures.

Estim. 2 500 - 3 000 EUR

Lot 96 - ARNE QUINZE (Belgium, 1971). "My Home My House My Stilthouse 180910", 2010. Mixed media (wood, marker, colored pencil, paper, paint) on plexiboxed. Signed and dated in the lower right corner. Attached certificate signed by the artist. Measurements: 60.5 x 90.5 x 16.5 cm. The title of this work serves as an umbrella for a series of sculptural, installation and painting projects that the Belgian artist has carried out in different parts of the world. Thus, the eponymous installation "My Home My House My Stilthouse" (2011) in Humlebaek (Denmark) and at the Louisiana Museum of Modern Art showed visitors a new way of perceiving housing and life. With the name "Stilthouses" he refers to our ambiguous nature, fragile and strong at the same time. In both his three-dimensional and pictorial works, Quinze brings together different types of wood, including reclaimed wood, and fluorescent paint. Because of their intense orange color, the sculptures contrast with their natural surroundings and generate a feeling of strangeness. Quinze's work is interested in reframing social interaction and communication through the play of lines, hallmarks and contradictions. In paintings such as this one, the artist abstracts on a two-dimensional plane all these searches and concerns. Arne Quinze is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates sculptures, paintings and drawings. He began working as a graffiti artist in Brussels in his late teens and never completed a formal art education. He is known for his characteristic wooden plank sculptures. His installations are built to provoke reactions and intervene in the daily lives of passers-by who are confronted with his sculptures. In 2006 he attracted attention with the construction of "Uchronia: A Message from the Future," a large wooden sculpture at the Burning Man festival in the Nevada desert. Cityscape (2007) and The Sequence (2008) are two of his gigantic wooden public art installations in the center of Brussels (Belgium). It was the first time that a sculpture gave the impression of touching two buildings in the city center while traffic continues to pass underneath it. In Munich, Germany, he built Traveller (2008) for the French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have been unveiled in downtown Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge). Quinze has created striking installations, which he conceives of as substitutes for the old market squares, such as Red Beacon (2010), which is located in the Jing'an Sculpture Park. Other of his works focus on the axiom that people tend to seek a safe environment, a womb that eliminates the unexpected. He realized the virtual installation Rock Strangers (2011) at the Statue of Liberty in New York on July 4 in collaboration with Beck's for his Green Box Project. In the context of Mons 2015 European Capital of Culture, he built a wooden installation called The Passenger. In 2009, Quinze installed a "Stilthouse" called The Visitor in Beirut, Lebanon, near his newly developed Souk complex, and the auction house Phillips de Pury & Company invited the artist to present his work in their London gallery. Due to its success in early 2010, the exhibition was extended at the Saatchi Gallery in London, at the Duke of York's Seat on the King's Road. During the Hamburg Art Week (2011) he presented new works showing a change in the use of materials, including shattered old porcelain symbolizing the destruction of our family traditions. In June 2014, Quinze created a unique artwork in collaboration with Veridor: 45 kg of precious metals transformed into a "natural chaos". This work of art was made primarily of 18-karat rose gold and 18-karat palladium white gold in rod and tube form, as well as gold wire and leaf. The piece, called Natural Chaos. Golden Edition No. 1 is on sale for €1.8 million on the online luxury marketplace JamesEdition.

Estim. 16 000 - 18 000 EUR

Lot 97 - ARNE QUINZE (Belgium, 1971). "Pilosus", 2019. Aluminum, acrylic and marble base. Unique piece . Measurements: 153 x 40 x 29 cm. In this monumental work, Quinze attempts to capture the strength, fragility and diversity of nature through an intense artistic practice, subjecting the materials to a tense balance of forms and the expressiveness of color, which seems to melt organically over the structure. The artist thus captures a reflection on evolution, creating a connection between art and science. Arne Quinze is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates sculptures, paintings and drawings. He began working as a graffiti artist in Brussels in his late teens and never completed a formal art education. He is known for his characteristic wooden plank sculptures. His installations are built to provoke reactions and intervene in the daily lives of passers-by who are confronted with his sculptures. In 2006 he attracted attention with the construction of "Uchronia: A Message from the Future," a large wooden sculpture at the Burning Man festival in the Nevada desert. Cityscape (2007) and The Sequence (2008) are two of his gigantic wooden public art installations in the center of Brussels (Belgium). It was the first time that a sculpture gave the impression of touching two buildings in the city center while traffic continues to pass underneath it. In Munich, Germany, he built Traveller (2008) for the French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have been unveiled in central Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge). Quinze has created striking installations, which he conceives of as substitutes for the old market squares, such as Red Beacon (2010), which is located in the Jing'an Sculpture Park. Other of his works focus on the axiom that people tend to seek a safe environment, a womb that eliminates the unexpected. He realized the virtual installation Rock Strangers (2011) at the Statue of Liberty in New York on July 4 in collaboration with Beck's for his Green Box Project. In the context of Mons 2015 European Capital of Culture, he built a wooden installation called The Passenger. In 2009, Quinze installed a "Stilthouse" called The Visitor in Beirut, Lebanon, near his newly developed Souk complex, and the auction house Phillips de Pury & Company invited the artist to present his work in their London gallery. Due to its success in early 2010, the exhibition was extended at the Saatchi Gallery in London, at the Duke of York's Seat on the King's Road. During Hamburg Art Week (2011) he presented new works showing a change in the use of materials, including shattered old porcelain symbolizing the destruction of our family traditions. In June 2014, Quinze created a unique artwork in collaboration with Veridor: 45 kg of precious metals transformed into a "natural chaos". This work of art was made primarily of 18-karat rose gold and 18-karat palladium white gold in rod and tube form, as well as gold wire and leaf. The piece, called Natural Chaos. Golden Edition No. 1 is on sale for €1.8 million on the online luxury marketplace JamesEdition.

Estim. 40 000 - 50 000 EUR

Lot 98 - ARNE QUINZE (Belgium, 1971). "Bidonville Tower 8-10-2012". Mixed media (wood, polyurethane, paint and marker). Unique piece . Signed on the base. Attached certificate signed by the artist. Measurements: 85 x 20 x 20 cm. For the realization of this work, Quinze was inspired by the constructions of the favelas of Brazil. The artist's website states that "Bidonvilles delves into the study of habitability in the current context. Different skyscrapers and dwellings embody diverse forms and shapes, but remain inherent to the same architectural context. Bidonvilles are archetypal houses as a parody of today's way of life. Cities develop with inexhaustible fervor. Without thought or a vision of sustainability, houses are quickly built next to each other; the functionality of buildings, streets and parks in total in urban environments is not fully taken into account. Bidonvilles intentionally reassure or accelerate this process and provoke open communication in a society of human interaction. Linking diverse societies in this way is consistent with Quinze's belief that all individuals are equal. Cultural and monetary differences among people do not alter this equality or diminish our basic equality. Quinze's buildings are both shantytowns and industrialized skyscrapers. Different cultures are represented by different lines and rhythms, yet they are unified within the same structure, reflecting our daily lives around and with each other. All of his Bidonville towers seem to incorporate the same form and similar construction, but, upon closer inspection, they are marked with different details depending on the culture, continent or city in which they are built." Quinze has made striking installations, which he conceives of as substitutes for the old marketplaces, such as Red Beacon (2010), which is located in the Jing'an Sculpture Park. Other of his works focus on the axiom that people tend to seek a safe environment, a womb that eliminates the unexpected. He realized the virtual installation Rock Strangers (2011) at the Statue of Liberty in New York on July 4 in collaboration with Beck's for his Green Box Project. In the context of Mons 2015 European Capital of Culture, he built a wooden installation called The Passenger. In 2009, Quinze installed a "Stilthouse" called The Visitor in Beirut, Lebanon, near his newly developed Souk complex, and the auction house Phillips de Pury & Company invited the artist to present his work in their London gallery. Due to its success in early 2010, the exhibition was extended at the Saatchi Gallery in London, at the Duke of York's Seat on the King's Road. During the Hamburg Art Week (2011) he presented new works showing a change in the use of materials, including shattered old porcelain symbolizing the destruction of our family traditions. In June 2014, Quinze created a unique artwork in collaboration with Veridor: 45 kg of precious metals transformed into a "natural chaos". This work of art was made primarily of 18-karat rose gold and 18-karat palladium white gold in rod and tube form, as well as gold wire and leaf. The piece, called Natural Chaos. Golden Edition No. 1 is on sale for €1.8 million on the online luxury marketplace JamesEdition.

Estim. 12 000 - 14 000 EUR

Lot 99 - ARNE QUINZE (Belgium, 1971). "Study of a wooden glass installation 03-02-13", 2013. Mixed media on paper. Attached certificate of authenticity signed by the artist. Measurements: 58 x 42 cm; 62,5 x 46,5 cm (frame). This study captures the essence of Arne Quinze's renowned installations. Through a sketch the artist, is able to define the everyday chaos and massive forms of his orange wood and glass pieces, which stand out and provoke the viewer. At first glance, this study appears to be a chaotic mix of different elements; however, a closer look determines that all the pieces have been placed in a specific way and have a precise function. By capturing and investigating the perfect angles and curves, Quinze was able to freeze the dimension of movement. For this, the artist draws inspiration from culture: wherever he travels, he studies the interaction of people, urban movement and the expression of human beings in their environment. This mental process leads him to the physical actualization of his multifaceted sculptures. Arne Quinze is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates sculptures, paintings and drawings. He began working as a graffiti artist in Brussels in his late teens and never completed a formal art education. He is known for his characteristic wooden plank sculptures. His installations are built to provoke reactions and intervene in the daily lives of passers-by who are confronted with his sculptures. In 2006 he attracted attention with the construction of "Uchronia: A Message from the Future," a large wooden sculpture at the Burning Man festival in the Nevada desert. Cityscape (2007) and The Sequence (2008) are two of his gigantic wooden public art installations in the center of Brussels (Belgium). It was the first time that a sculpture gave the impression of touching two buildings in the city center while traffic continues to pass underneath it. In Munich, Germany, he built Traveller (2008) for the French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have been unveiled in central Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge). Quinze has created striking installations, which he conceives of as substitutes for the old market squares, such as Red Beacon (2010), which is located in the Jing'an Sculpture Park. Other of his works focus on the axiom that people tend to seek a safe environment, a womb that eliminates the unexpected. He realized the virtual installation Rock Strangers (2011) at the Statue of Liberty in New York on July 4 in collaboration with Beck's for his Green Box Project. In the context of Mons 2015 European Capital of Culture, he built a wooden installation called The Passenger. In 2009, Quinze installed a "Stilthouse" called The Visitor in Beirut, Lebanon, near his newly developed Souk complex, and the auction house Phillips de Pury & Company invited the artist to present his work in their London gallery. Due to its success in early 2010, the exhibition was extended at the Saatchi Gallery in London, at the Duke of York's Seat on the King's Road. During the Hamburg Art Week (2011) he presented new works showing a change in the use of materials, including shattered old porcelain symbolizing the destruction of our family traditions. In June 2014, Quinze created a unique artwork in collaboration with Veridor: 45 kg of precious metals transformed into a "natural chaos". This work of art was made primarily of 18-karat rose gold and 18-karat palladium white gold in rod and tube form, as well as gold wire and leaf. The piece, called Natural Chaos. Golden Edition No. 1 is on sale for €1.8 million on the online luxury marketplace JamesEdition.

Estim. 7 000 - 9 000 EUR

Lot 100 - ARNE QUINZE (Belgium, 1971). "Arcticus", 2019. Aluminum, acrylic and marble base. Unique piece . Measurements: 185 x 90 x 72 cm. In this monumental work, Quinze attempts to capture the strength, fragility and diversity of nature through an intense artistic practice, subjecting the materials to a tense balance of forms and the expressiveness of color, which seems to melt organically over the structure. The artist thus captures a reflection on evolution, creating a connection between art and science. In fact, on his own website he describes the "Articus" concept as "Architecture of nature". These types of works by Quinze have been part of his traveling exhibition "My Secret Garden", which could be seen in several cities in Spain. This exhibition tried to reflect the interaction between art, science and the space we cohabit, crystallizing in these monumental sculptures. Arne Quinze is a Belgian conceptual artist known primarily for his unconventional and controversial public art installations. Quinze also creates sculptures, paintings and drawings. He began working as a graffiti artist in Brussels in his late teens and never completed a formal art education. He is known for his characteristic wooden plank sculptures. His installations are built to provoke reactions and intervene in the daily lives of passers-by who are confronted with his sculptures. In 2006 he attracted attention with the construction of "Uchronia: A Message from the Future," a large wooden sculpture at the Burning Man festival in the Nevada desert. Cityscape (2007) and The Sequence (2008) are two of his gigantic wooden public art installations in the center of Brussels (Belgium). It was the first time that a sculpture gave the impression of touching two buildings in the city center while traffic continues to pass underneath it. In Munich, Germany, he built Traveller (2008) for the French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have been unveiled in central Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge). Quinze has created striking installations, which he conceives of as substitutes for the old market squares, such as Red Beacon (2010), which is located in the Jing'an Sculpture Park. Other of his works focus on the axiom that people tend to seek a safe environment, a womb that eliminates the unexpected. He realized the virtual installation Rock Strangers (2011) at the Statue of Liberty in New York on July 4 in collaboration with Beck's for his Green Box Project. In the context of Mons 2015 European Capital of Culture, he built a wooden installation called The Passenger. In 2009, Quinze installed a "Stilthouse" called The Visitor in Beirut, Lebanon, near his newly developed Souk complex, and the auction house Phillips de Pury & Company invited the artist to present his work in their London gallery. Due to its success in early 2010, the exhibition was extended at the Saatchi Gallery in London, at the Duke of York's Seat on the King's Road. During Hamburg Art Week (2011) he presented new works showing a change in the use of materials, including shattered old porcelain symbolizing the destruction of our family traditions. In June 2014, Quinze created a unique artwork in collaboration with Veridor: 45 kg of precious metals transformed into a "natural chaos". This work of art was made primarily of 18-karat rose gold and 18-karat palladium white gold in rod and tube form, as well as gold wire and leaf. The piece, called Natural Chaos. Golden Edition No. 1 is on sale for €1.8 million on the online luxury marketplace JamesEdition.

Estim. 50 000 - 55 000 EUR

12th June - Private Collection: Visionaries of the 20th & 21st century Avant-Garde

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